Training the Actor´s Body:A Guide Dick McCaw
Novice actors and stage veterans alike will discover a deeper level of consciousness through the exercises outlined in ´´The Lucid Body: A Guide for the Physical Actor.´´ Developed by Fay Simpson, an Actors Center member and co-founder of Impact Theatre, The Lucid Body is a cutting-edge technique that lets you combine eastern yoga elements with your contemporary western way of life to bring truth to your acting and inner clarity to your life. The Lucid Body technique has been presented by the author for 15 years in workshops, rehearsals, and schools, teaching actors to access their seven chakra centers. Now you can practice in your own home what hundreds of others have already discovered at the Yale School of Drama, NYU, and the Michael Howard Studios. Add vital energy to your life and your acting with ´´The Lucid Body.´´
A step-by-step program guides actors through the phases of self-awareness that expand emotional and physical range, not only on stage, but in daily life. Actors! Engage your mind and your body in order to develop your characters fully. The Lucid Body technique breaks up stagnant movement patterns and expands your emotional and physical range. Through energy analysis, this program shows how to use physical training to create characters from all walks of life - however cruel, desolate, or neurotic those characters may be. Rooted in the exploration of the seven chakra energy centers, The Lucid Body reveals how each body holds the possibility of every human condition. Learn how to analyze the character, hear the inner body, dissect the self into layers of consciousness, and more. PLEASE NOTE: When you purchase this title, the accompanying reference material will be available in your My Library section along with the audio. 1. Language: English. Narrator: Tamara Scott. Audio sample: http://samples.audible.de/bk/adbl/009004/bk_adbl_009004_sample.mp3. Digital audiobook in aax.
This study offers a brief counter-note to the dominant functional analyses of voluntary action present in much of the current civil society discourse. It is argued that a functional approach, while explicating the structure of voluntary action at sector and organisational level, is challenged in offering a sufficient explanation of voluntary action at the level of the individual. Definitional difficulties regarding the volunteer and the voluntary organisation, and the demand-sided emphasis in the presentation of the relationship between organisation and individual are seen as symtomatic of this problem. A paradigmatic barrier to the exploration of the relationship between human agency and voluntary action is argued to lie at the core of the issue. Despite an an increasing body of research into volunteering which draws attention to individual reflexivity, value expression, and a concern with self-enactment, such work is not gathered yet as a coherent and alternative voice. In this study the ´putative agency´ of the individual is placed at the centre of the research proposition so as to examine the subjective experience relative to enagement in voluntary action. An interpretative approach is used for gathering the life-stories of individuals who have contributed significantly to the establishment and development of a variety of Civil Society Organisations. From an analysis of these narratives, a complex and multi-faceted image of the individual as ´voluntary actor´ is proposed. Some of the implications of such an image for our undestanding of the relationship between the individual and voluntary action are examined. Following postgraduate research in History, Andrew O´Regan spent 10 years working in Civil Society Organisations in Ireland before joining the School of Business, Trinity College. He is Programme Director of the Centre for Nonprofit Management there and teaches on undergraduate and postgraduate programmes. His research is concerned primarily with understanding the relationship between individual meaning and social identity, and the functioning of civil society organisations in the creation and enactment of values in society.
Physical Actor Training:What Shall I Do with the Body They Gave Me? Andrei Droznin
In this step-by-step guide, an actor and improvisational teacher brings his tested methods to the page to show how actors can take risks and gain spontaneity in all genres of scripted theater. Through 28 lessons - each of which includes warm-ups, points of concentration, and improvisation exercises - Improv for Actors provides insights into thinking and reacting with fluidity, exploring a character’s social status, using the voice and body as effective tools of storytelling, and more. Actors of all levels will soon be able to give a fresh, original approach to classic characters, create funnier performances in farce and comedy, and make dramatic characters richer and more believable. 1. Language: English. Narrator: Paul Boehmer. Audio sample: http://samples.audible.de/bk/adbl/008999/bk_adbl_008999_sample.mp3. Digital audiobook in aax.
Early Modern Actors and Shakespeare´s Theatre:Thinking with the Body Evelyn Tribble
This is a book for the thinking actor, and the finest actors I´ve known are just that. The best actors bring it all together: body, heart, spirit, and mind. This book is for the actor who thinks about craft and influence, who thinks about the relationship of performance to living, who thinks about doing and what that doing means. Acting is a metaphor, and it´s a mirror. A theory of acting, if true, shows us to ourselves. Jeff Zinn knows this. He knows it as an actor, director, teacher, and thinker. His theory of everything is simple and revelatory. (From the foreword by Todd London) 1. Language: English. Narrator: Jeff Zinn. Audio sample: http://samples.audible.de/bk/acx0/038630/bk_acx0_038630_sample.mp3. Digital audiobook in aax.
Little has been written of Yat Malmgren´s acting technique, despite its international influence in mainstream western actor training. Yat Malmgren (1916 - 2002) was a colleague of Rudolf Laban´s and in 1954 received Laban´s final papers on his theory of ´Movement Psychology´. Yat Malmgren devoted the latter half of his life interpreting and expanding Rudolf Laban´s movement theories into a precise and practical method for actors in their development of realistic characters for stage and screen performance. The Drama Centre London became the hub for Yat Malmgren´s technique of ´Character Analysis´. In this doctoral work, Dr Janys Hayes analyses Yat Malmgren´s contribution to a wider field of knowledge of embodiment, expression and agency for actors. She places Yat Malmgren´s acting technique as a systematic, contemporary and revelatory means for the exploration of performed action.