Rev. ed. of: To the actor. 1st Barnes & Noble Books ed. 1985.

In To the Actor Michael Chekhov has recorded brilliantly the results of his many years of experimenting, testing and verifying in the professional theater and schools of the theater. He brings to actors far greater insight into themselves and the characters they are to portray, which enables them to approach any role with new ease and skill. “To the Actor is by far the best book that I have read on the subject of acting. Actors, directors, writers and critics will be grateful for it. It should prove enlightening to theatergoers who wish to deepen their appreciation for fine acting and thus help to invigorate the theatrical art.”—Gregory Peck “I think without a doubt every creative person in the theater will want to have it as a constant reference book, outside of its being, in my opinion, absorbing and entertaining reading.”—Yul Brynner (from the Preface) “One of the most remarkable and practical books on the technique of acting I have ever read....Enthusiastically recommended to all theatre collections of whatever size.”—Library Journal

Michael Chekhov's classic work To the Actor has been revised and expanded by Mala Powers to explain, clearly and concisely, the essential techniques for every actor from developing a character to strengthen awareness. Chekhov's simple and practical method – successfully used by professional actors all over the world – trains the actor's imagination and body to fulfill its potential. To the Actor includes a previously unpublished chapter on 'Psychological Gesture', translated into English by the celebrated director Andrei Malaev - Babel; a new biographical overview by Mala Powers; and a foreword by Simon Callow. This book is a vital text for actors and directors including acting and theatre history students.

A disciple of Konstantin Stanislavski and a member of the Group Theatre in the 1930s, the noted actress and teacher offers advice on acting preparations, the demands of characterization, and dramatic exercises, as well as personal memories

Actor training is arguably one of the most unique phenomenons of 20th-century theatre making. This text analyses the theories, training exercises and productions of 14 key directors.

Intended for actors, directors, teachers and researchers, this book offers an exceptionally clear and thorough introduction to the renowned acting technique developed by Michael Chekhov. Sinéad Rushe's book provides a complete overview of the whole method, and includes illuminating explanations of its principles, as well as a wide range of practical exercises that illustrate, step by step, how they can be applied to dramatic texts. Part One provides an outline of the ideas that underpin the work, which help to prepare practitioners to become responsive and receptive, and to awaken their imagination. Part Two charts a journey through the foundational psychophysical exercises that can both orient an actor's training routine and be applied directly to the development of a role. Part Three focuses on more specific and elaborate methods of scene work, characterisation and the art of transformation. Drawing on the full range of Chekhov's writing in English and French, this book also examines unpublished material from the Dartington Hall archives and features interviews with actors who have worked with the technique, including Simon Callow and Joanna Merlin. It illustrates Chekhov's approach by referring to Rushe's own productions of Nikolai Gogol's short story Diary of a Madman and Shakespeare's Othello, as well as characters and scenes in Sarah Kane's Blasted and the contemporary American television series Breaking Bad. Michael Chekhov's Acting Technique is an accessible, comprehensive and contemporary point of reference for those already trained in the method, as well as an initiation and toolkit for practitioners who are just beginning to discover it.

Presents an introduction to how actor training shapes modern theatre.

This volume captures the rich diversity of European performance practice evident in the twentieth and early part of the twenty-first century. Written by leading directors, actors, dancers, scenographers and academics from across Europe, the collection spans a broad range of subject areas including dance, theatre, live art, multimedia performance and street protest. The essays are divided into three sections on: performers and performing; staging performance; representation and reception, and document innovations in acting, performance and stagecraft by key practitioners. Articles also explore the ways that performance has been used to stage debates around major preoccupations of the age such as war, the human condition, globalization, the impact of new technologies and identity politics. This volume, which features previously published performance manifestoes, articles, and book chapters on the most frequently discussed and debated topics in the field, is an indispensable reference work for both academics and students.

Encountering Ensemble, is a text for students, teachers, researchers and practitioners who wish to develop a deeper understanding of the history, conceptual foundations and practicalities of the world of ensemble theatre. It is the first book to draw together definitions and practitioner examples, making it a cutting edge work on the subject. Encountering Ensemble combines historical and contemporary case studies with a wide range of approaches and perspectives. It is written collaboratively with practitioners and members from the academic community and is divided into three sections: 1. Introduction and an approach to training ensembles 2. Practitioner case studies and analysis of specific practical approaches to training ensembles (or individuals in an ensemble context) 3. Succinct perspectives from practitioners reflecting on a range of questions including: What is an ensemble?; the place of ensemble in the contemporary theatre landscape; and training issues.

Mr. Arturi explaining young people “The Content of the Book” Mr. Arturi: you will learn the technique that I and the great Hollywood actors mentioned on the cover and others use to create a character for a movie and how to enter to work in the world of movies without complications This technique is used by these actors and approved by the audience They briefly and partially describe their techniques in the program "Inside the Actors Studio" on Bravo Channel, where you can watch the videos at any time I explain you the technique in a very easy way, with all the essential elements and many details that they don't mention You learn to express the true feelings of your character in a movie, and not to fake them, screaming and/or with voluminous gestures as taught in many acting schools You’ll learn the technique from A to Z; that is, A is when you start reading the book, and Z is at the end of your training when you'll be ready to act the protagonist in a professional movie. Guaranteed! THE WARRANTY While you are training, you can watch the interviews of the actors and verify if it's what they comment You don’t need acting experience, just an inexpensive camcorder, the book and the desire to become a professional actor, that's it My students say that the exercises are entertaining, fun and very easy to learn; you just read and shoot the practice scenes The ideal is to make an acting / filming team; it takes 3 people, 2 in front of the camera and one shooting the scene and you go rotating positions Also, I explain you an easy way to shoot scenes, as you see in the movies, that even a child can do it Mr. Arturi adds: VERY IMPORTANT: my system allows you to learn the technique without a teacher, I give you the elements for self-control and correction; the "why" and "how" to do it is explained in the chapter "The John Travolta Test” A student: What do I do after learning the technique? How do I become a professional actor? Mr. Arturi: In it I explain you the ESSENTIAL steps to enter the world of movies and be a successful actor; and MOST IMPORTANTLY, how to avoid the setbacks that inexperience could bring, and prevent you from spending years wandering and hoping for success. It takes years for new actors to gain the experience that you will gain in no time learning this technique Mr. Arturi concludes: In my book you will not find stories, anecdotes, metaphors, unrelated issues or useless exercises to "entertain", which is what you find in most books on the same subject that authors use as "book fillers", and in acting schools as “hour fillers" for lack of a solid technique to teach If you want or dream of being a professional actor, my book gives you all the elements to achieve it. Guaranteed! (But it’s up to you) Mr. Arturi’s challenge: find in the world an acting school or a book that offers 25% of the material contained in my book, you will not find it Mr. Arturi: if you don't want to be a professional actor, but you would like to learn the technique, you can use it as the base of a game to play with friends, some of my students like to do, and they say it is a very funny game to play Later your team will get in contact with other groups created in schools and universities to compete This idea is developed in the chapter "My dream" Mr. Arturi’s conclusion: you learn the real Hollywood movie acting technique, save a lot of money, not waste years in acting schools or workshops, and you work as a professional actor in a short amount of time Q: Why your book with such important content is so inexpensive? Mr. Arturi: I wrote it for various reasons: for my love to teaching, to young people and to movie acting, NOT TO MAKE MONEY; and also to help young people not to lose years in school and go into debt with creditors to pay courses, and for others to use the technique as a healthy fun game. Inside the book you have my email address to ask me questions