Actors are above all experts in movement. From holding out the hand, to turning the head, to kneeling, to passing over the stage, to drawing a sword, to dancing a pavan or a jig, to tumbling, wrestling, vaulting or other feats of activity, the actor’s body is above all kinetic. This section of … more
Impro by Keith Johnstone has become over the years one of the most important theatre practitioner books; filled with insight and guidance for performers, it is essential reading for anyone looking to better understand the dynamics of interaction on the stage. In this short excerpt, Keith … more
Over the years, I’ve had the opportunity to meet with many of New York’s most prominent agents and casting directors. Recently, in a small National Theatre Conference session at the Players Club in Gramercy Park (Edwin Booth’s former home), I was able to visit with talent agent … more
The main part of this excerpt will look at concrete examples of object dysfunction, largely from within the physical comedy tradition, specifically focusing on comical cases which exemplify what Heidegger identifies as the three modes of the unready-to-hand object. However, before we can get a … more
In Acting Stanislavski, John Gillett offers a clear, accessible and comprehensive account of the Stanislavski approach, from the actor's training to final performance.
In this excerpt from the book, John discusses the importance of objectives and actions and offers a variety of exercises for the … more