eBooks de Formación del actor, página 3 de 8

Andy Nymans first book, The Golden Rules of Acting, has become a bestseller in the acting world. Now he returns to bring you more priceless nuggets gleaned from more than thirty years in the acting business.This book will help you to... Learn to love auditions and self-tapes (yes, really!) Look after your mental health Deal with success and failure Burst a few bubbles that need bursting Written with the same candid wit as his first book, this is every actors new best friend in handy paperback form. With great humour, wisdom and panache, Andy Nyman presents tasty advice for any actor. He knows that the more rules and craft under your belt, the more daring and original you will be as an artist Glenn CloseAs with the first volume, this book gets to the heart of what being a working actor is about. No faff, no mystery, just practicalities that are always worth being reminded of Martin FreemanOne man shouldnt be so wise and entertaining, but Andy Nyman somehow is. His latest Golden Rules are exactly that and wild fun, to boot. I recommend this book not just to actors, but to anyone who has ever seen an actor act. Nymans insights apply to us allJ.J. Abrams

The vital building blocks of movement training a key sourcebook for actors, directors, students and teachers.In precise detail, Darley sets out the exercises and techniques she developed with her own drama-school students. She deals with the vital building blocks of movement training: awareness, relaxation, tensionparticularly Lecoqs Seven Statesand suspension, before progressing to areas in which she was a pioneer: animal work, contact work, visual spacing, and the relationship between voice and movement.Christian was much more than a teacher, she was an indomitable and extraordinary spirit Anna Maxwell Martin

Esta es la historia de mi vida desde mis años mozos a la actualidad. De todo se trata en estos retazos de memorias, en los que cuento historias, chascarrillos, anécdotas y vicisitudes que hemos experimentado a lo largo, y tambien a lo ancho, de estos años. Y nos ha pasado de todo: desde actuar en una carcel, a que nos pongan una bomba en un teatro; desde ser cantante en Londres, a luchar contra la guerra de Irak y lo que nos queda.

Forty fantastic female speeches for teenagers, all written since the year 2000, by some of the most exciting and acclaimed writers working today. Whether youre applying for drama school, taking an exam, or auditioning for a professional role, its likely youll be required to perform one or more monologues, including a piece from a contemporary play. Its vital to come up with something fresh thats suited both to you in order to allow you to express who you are as a performer and to the specific purposes of the audition. In this invaluable collection youll find forty speeches by leading contemporary playwrights including Andrew Bovell, Nadia Fall, Vivienne Franzmann, James Fritz, Stacey Gregg, Arinze Kene, Cordelia Lynn, Lynn Nottage, Chinonyerem Odimba, Evan Placey, Jessica Swale and Tom Wells, from plays that were premiered at many of the UKs most famous and respected venues, including the National Theatre, Shakespeares Globe, Manchester Royal Exchange, Royal Court Theatre, Bush Theatre, and the Edinburgh Festival Fringe and VAULT Festival. Drawing on her experience as an actor, director and teacher at several leading drama schools, Trilby James introduces each speech with a user-friendly, bullet-point list of ten things you need to know about the character, and then five ideas to help you perform the monologue. This book also features an introduction to the process of selecting and preparing your speech, and approaching the audition itself.Sound practical advice for anyone attending an audition a source of inspiration for teachers and students alikeTeaching Drama Magazine on The Good Audition Guides

Forty fantastic male speeches for teenagers, all written since the year 2000, by some of the most exciting and acclaimed writers working today.Whether youre applying for drama school, taking an exam, or auditioning for a professional role, its likely youll be required to perform one or more monologues, including a piece from a contemporary play. Its vital to come up with something fresh thats suited both to you in order to allow you to express who you are as a performer and to the specific purposes of the audition.In this invaluable collection youll find forty speeches by leading contemporary playwrights including Annie Baker, Jez Butterworth, Nadia Fall, Ella Hickson, Arinze Kene, Dawn King, Jessica Swale, Jack Thorne, Enda Walsh and Tom Wells, from plays that were premiered at many of the UKs most famous and respected venues, including the National Theatre, Shakespeares Globe, Manchester Royal Exchange, Royal Court Theatre, Bush Theatre, Traverse Theatre, the Young Vic, and the Edinburgh Festival Fringe.Drawing on her experience as an actor, director and teacher at several leading drama schools, Trilby James introduces each speech with a user-friendly, bullet-point list of ten things you need to know about the character, and then five ideas to help you perform the monologue.This book also features a step-by-step guide to the process of selecting and preparing your speech, and approaching the audition itself.Sound practical advice for anyone attending an audition a source of inspiration for teachers and students alikeTeaching Drama Magazine on The Good Audition Guides

Novedoso en su contenido, este libro destaca por la estricta adecuación de sus conceptos como fundamento para edificar las actividades prácticas (ejercicios dramáticos creados sobre bases lúdicas) y la congruente propuesta para abordar la evaluacion. Su alineacion con las orientaciones fundamentales de la reforma educacional en el plano metodologico, evaluativo y de incorporacion de los objetivos transversales le otorga una actualidad relevante. Esta obra esta destinada a usarse durante clases en establecimientos educacionales, en actividades realizadas en centros culturales y a servir de ayuda en procesos terapeuticos.

Hablar del entrenamiento vocal del actor es hablar de la condición humana. De esto sabe Kristin Linklater, creadora del método conocido como freeing the natural voice. A pesar de desobedecer la sugerencia de su maestra en cuanto a nunca escribir sobre el tema, porque cada individuo que experimenta con su voz y cada clase, son experiencias unicas, Kristin comprendio que habia de compartir su vasto conocimiento sobre la voz hablada del actor y articulo en un libro ese trabajo que hasta la fecha, pone en practica como maestra de teatro en la Columbia University de Nueva York. Antonio Ocampo Guzman, actor, director y maestro colombiano radicado en Boston, nos trae ahora el libro la libertad de la voz natural-el Metodo Linklater, unico autorizado por Kristin en español, porque no es solo la traduccion de un material, sino el resultado creativo y enriquecedor, fruto del trabajo que este maestro ha desarrollado y adaptado con los estudiantes de habla hispana, bajo la premisa de que liberar la voz es liberar a la persona y toda persona es indivisiblemente, mente y cuerpo. Para iniciar su labor docente en 2006, el CEU introdujo en Mexico este metodo que desde hace cuarenta anos es ya parte indispensable de la curricula de escuelas de teatro en Estados Unidos y Europa.

An exciting and invaluable collection of audition speeches, all chosen from plays produced by the National Youth Theatre of Great Britain, spanning more than sixty years as one of the worlds leading companies for young performers.Featuring seventy-five monologues by acclaimed writers such as Zawe Ashton, Moira Buffini, Carol Ann Duffy, Brian Friel, James Fritz, James Graham, Dennis Kelly, Rebecca Lenkiewicz, Gbolahan Obisesan, Evan Placey, Sarah Solemani and Jack Thorne, the book offers rich and diverse roles ranging from teens to adults. Each audition speech also comes with invaluable supporting material compiled by NYT Associate Artist Michael Bryher to help you perform the piece to its maximum effect, including: A detailed description of the play that the speech is originally from Contextual information such as whats just happened in the play, where the monologue takes place, to whom the character is talking, and what their motivations are Things to think about when rehearsing and performing the speech The book also provides extensive advice on choosing a speech, working on it and preparing for auditions, plus tips and first-hand insights into the monologues from current NYT members and alumni whove performed them.An ideal resource for actors auditioning for drama school, the NYT or elsewhere, as well as those preparing for showcases or competitions, National Youth Theatre Monologues offers a wide and diverse range of roles, themes and styles meaning youll be able to find the speech thats just right for you.

A practical, accessible and inspiring guide to using puppetry in theatre the perfect entry point for anyone looking to use puppets in their productions, to explore what puppets can do, or to develop their puppetry skills.Written by an experienced theatre and puppetry director, Mervyn Millars Puppetry: How to Do It focuses on the performer and the craft of bringing any puppet to life. No puppet-making is required to use this book: starting just with simple objects, it lays out the skills required to unlock a puppets limitless potential for expression and connection with an audience.Inside youll discover fifty practical, easy-to-follow exercises for use in a group or on your own to develop elements of the craft, build confidence and help you improve your puppetry through play and improvisation. Also included are sections on different types of puppet, thinking about how the puppeteer is presented on stage and how to direct and devise puppet performances.Ideal for actors and performers, for directors and designers, and for teachers and students of all ages and levels of experience, this book will demystify the art of puppetry, and help you become more confident and creative with all kinds of puppets and objects on stage.This is a superb guide to puppet manipulation by one of the worlds most experienced puppetry directors and teachers at a time when many actors are seeing puppetry as the twenty-first centurys evocative and powerful new performance medium Basil Jones, Handspring Puppet CompanyThis book captures Mervyns playful and accessible process for working with actors to develop their puppetry skills its like having him in the room Lucy Skilbeck, Director of Actor Training at RADAMervyn Millar has a unique perspective on the meteoric rise of puppetry in British theatre having witnessed it from the inside. He was resident at the Puppet Centre Trust at BAC when Improbable Theatre were exploding theatrical form in 70 Hill Lane and Animo. He was studying with Handspring when they created the exquisite and game-changing giraffe puppet in Tall Horse. He was present from the earliest experiments at the National Theatre Studio in which puppetry and "poor theatre" were combined to create the performance language of War Horse. There is no one better placed to reveal the techniques of puppetry which made these changes and these shows possible. Tom Morris, Artistic Director of Bristol Old Vic, and Co-director of War HorseMore and more contemporary actors are adding puppetry to their arsenal of performance techniques. Here is a very timely guide to what is required from the actor to give life to the performed object as developed from Mervyn Millars own deep practical experienceAdrian Kohler, Handspring Puppet CompanyBased on the workshops he developed for training performers for War Horse, Mervyn has written this book to share his craft the exercises are clear and easily reproducible for many different types of participants a wonderful gift to the field of puppetry. I hope that it will be used widely to introduce adventurous spirits to this dynamic art form Cheryl Henson, President of the Jim Henson Foundation, from her Foreword

A bold and exciting new approach to Bertolt Brecht, making his theories and ideas about theatre accessible to a new generation of actors, directors, students and theatre-makers, and showing how they can be put into practice.Theatre practitioner and academic David Zoob demystifies Brechts theories, and offers an approach to study and performance that can be applied to a wide range of texts and theatre styles.With close analysis of texts by writers including Shakespeare, Chekhov, Miller, Pinter, and of course Brecht himself, the author demonstrates how Brechtian techniques can provide practical pathways to exploring plays across the canon, as well as non-traditional forms of theatre.Also included are dozens of exercises to help turn theory into practice, and explore what Brechts ideas mean for actors and directors, both in training and rehearsal.Whether youre a student, a teacher, an actor or a theatre-maker, this book will change the way you view and work with Brecht.Zoob has engaged with Brechts many and varied principles for a politicised theatre and channelled them into a wide range of novel and innovative exercises that are applicable to a great many dramas and can equally interrogate devised material ExcellentDavid Barnett, Professor of Theatre, University of York, and author of Brecht in Practice

An intensely practical handbook for actors on how to cope with text, subtext, character and situation. With a preface by Kenneth Branagh.Having helped the actor with basic vocal technique in her enormously successful book, Finding Your Voice, Barbara Houseman here shows the actor how to cope with the demands posed by the text [and the subtext] of the play itself.Full of practical exercises developed over many years of working with actors of all ages and experiences, Tackling Text [and subtext] is an indispensable handbook for any actor working with text - from acting students and young professionals, to experienced actors wanting to tackle specific problems and acting coaches wanting to discover new ways of enabling their students.If you want to improve as an actor, read this book... it helps restore the hard work of the actor as fresh, playful and fun Kenneth Branagh, from his PrefaceAn inspiring teacher... a hugely motivating force in my work Daniel RadcliffeBarbaras work starts with the voice, passes through the physical - and results in a character. Her teaching helps total performance Jude Law

A unique collection of Shakespeares every reflection on the theatre, offering fascinating insights into the man, his work, and the world of the Jacobean stage.Shakespeare was a man of the theatre to his core, so it is no surprise that he repeatedly contemplated the nuts and bolts of his craft in his plays and poems.Shakespeare scholar Nick de Somogyi here draws together all the cherishable set pieces including All the worlds a stage, Hamlets encounters with the Players, and Bottoms amateur theatricals along with many other oblique but no less revealing glances, and further insights into theatre practice by Shakespeares contemporaries and rivals.De Somogyis informed commentary takes us through the entire process of a plays theatrical production, from its casting and auditions, via rehearsals, costumes, and props, to its premiere and audience reception.Shakespeare on Theatre eavesdrops on the urgently whispered noises-off in the tiring-house and inhales the heady aroma of the Globes first audiences.

En este libro, el lector encontrará numerosas técnicas, recursos, reflexiones y consejos que le serán de gran utilidad para iniciarse en la maravillosa práctica de la Narración Oral y así ser capaz de contar todo tipo de relatos, cuentos y narraciones a una gran variedad de publico; en cualquier lugar y ambiente, y ante distintas audiencias o contextos. En palabras de Richard Gerver, contar historias es un gran arte; no solo para escritores o comediantes, sino para cualquiera que quiera exponer su caso o transmitir una idea. Docentes, monitores, educadores, animadores, cuentacuentos, actores, padres y madres, en definitiva, cualquier persona que se sienta atraida por el arte de la Narracion Oral y que quiera conocer las tecnicas que le ayuden a ser un buen narrador oral disfrutara con la lectura de este libro; una guia clave para su aprendizaje. En el encontraran una herramienta de facil y amena lectura y de gran utilidad.

Packed with insights from a lifetime of directing theatre, Words into Action is a fascinating read and a vital masterclass for actors and directors.Renowned theatre director William Gaskill was one of the founders of the Royal Court, whose ethos, as Christopher Hampton says in his Foreword, this book goes a long way towards defining.Gaskills acclaimed work as a director always began with the words of the playwright, and here, starting with a chapter on Trusting the Writer, he takes the actor through the vital steps needed to find the life of the play and then to articulate it on stage.Drawing instances from his own work in the theatre and from teaching at the Royal Academy of Dramatic Art, he looks at action and intention, stillness and movement, sentences and rhetoric, punctuation and pauses. He pays detailed attention to staging Shakespeares plays, and there are also chapters on masks, on language as character, and on verse and prose. Gaskill was, says Maggie Smith, the best teacher in the world.

A step-by-step introduction to the key features of the Meisner Technique, including a full set of practical exercises.The Meisner Technique is at the forefront of actor training today: with its radical simplicity it has the power to reconnect actors with their bodies and emotions.Developed by the teacher and actor Sanford Meisner, the technique places emphasis on truthful interaction between actors. The aim is for the actor to live truthfully under imaginary circumstances to remain truly in the moment.In Meisner in Practice, Nick Moseley offers actors a step-by-step introduction to the salient features of the technique, and puts these to the test through a succession of increasingly challenging practical exercises. He also addresses certain pitfalls and problems that he has encountered over many years of teaching Meisner in drama schools.This book will be of immense value to students, teachers and practitioners in exploring a technique that is becoming increasingly recognised as a core element of actor training.

A practical guide to the skills, characters and history of Commedia DellArte through graded games and illustrated exercises - a useful tool in any actors training and a discipline for all forms of physical theatre. Chapters include: * Warm-Up Games * Mime and Movement Games * Word Games * Using Face Masks * The Legacy of Commedia dellArte, a chapter looking at the individual Masks or characters in the traditional Commedia dellArte.

A vital companion for actors in rehearsal - a thesaurus of action-words to revitalise performance, with a foreword by Terry Johnson. Finding the right action is an essential part of the process of preparation for the actor. Using this thesaurus of active verbs, the actor can refine the action-word until s/he hits exactly the right one to help make the action come alive. The method of actioning is widely used in rehearsal rooms, but has never before been set down in a systematic and comprehensive way.If you want to act, or act better, Actions will take you a long way on the journey to excellenceTerry Johnson

Masks are empowering They enable you to take risks. They provoke you into working with the reckless logic of a six-year-old or the enigmatic stillness of someone wiser than youll ever be. But above all, masks let you be you without your habitual limitations.In Playing the Mask, award-winning theatre-maker and teacher John Wright explores and demystifies mask-work: what masks do, how they do it, and, above all, what they can teach us about acting.This book is a wonderfully accessible introduction to a fresh and innovative acting technique for actors, theatre-makers and teachers to use in training and rehearsal. A mask releases the actor to be playful, and playfulness generates ideas, finds meaning, develops characterisation and is infinitely more fun than traditional training.Rather than a dry guide to making masked theatre, it is about, for instance, playing Lady Macbeth in Red Nose, or Hamlet in the mask of The Victim, The Ogre or The Fool, or even Romeo and Juliet in grotesque half-masks All in the name of liberating your creativity and, ultimately, improving your performance.Extensively illustrated with a rich variety of masks, this inventive and pragmatic book is full of invaluable games and exercises drawn from the authors own workshops, his experience as co-founder of both Trestle and Told by an Idiot, and his pioneering mask and clown work in many professional productions.Brilliant, entertaining and accessible Paul Hunter, from his Foreword

Eileen Atkins discusses playing Viola in Shakespeares Twelfth Night, in this ebook taken from Shakespeare On Stage: Volume 2 - Twelve Leading Actors on Twelve Key Roles.In each volume of the Shakespeare On Stage series, a leading actor takes us behind the scenes of a landmark Shakespearean production, recreating in detail their memorable performance in a major role. They lead us through the choices they made in rehearsal, and how the character works in performance, shedding new light on some of the most challenging roles in the canon. The result is a series of individual masterclasses that will be invaluable for other actors and directors, as well as students of Shakespeare and fascinating for audiences of the plays.In this volume, Eileen Atkins discusses playing the role of Viola in two productions of Twelfth Night seventeen years apart: at the Old Vic Theatre in 1961, directed by Colin Graham; and in a Prospect Theatre Company production in 1978, again at the Old Vic Theatre, directed by Toby Robertson.This interview, together with the others in the series (with actors such as Simon Russell Beale, Ian McKellen, Patrick Stewart and Harriet Walter), is also available in the collection Shakespeare On Stage: Volume 2 - Twelve Leading Actors on Twelve Key Roles by Julian Curry, with a foreword by Nicholas Hytner.

Harriet Walter discusses playing Imogen in Shakespeares Cymbeline, in this ebook taken from Shakespeare On Stage: Volume 2 - Twelve Leading Actors on Twelve Key Roles.In each volume of the Shakespeare On Stage series, a leading actor takes us behind the scenes of a landmark Shakespearean production, recreating in detail their memorable performance in a major role. They lead us through the choices they made in rehearsal, and how the character works in performance, shedding new light on some of the most challenging roles in the canon. The result is a series of individual masterclasses that will be invaluable for other actors and directors, as well as students of Shakespeare and fascinating for audiences of the plays.In this volume, Harriet Walter discusses playing the role of Imogen in Shakespeares late romance, Cymbeline, in Bill Alexanders Royal Shakespeare Company production in 1987.This interview, together with the others in the series (with actors such as Ian McKellen, Simon Russell Beale, Alan Rickman and Fiona Shaw), is also available in the collection Shakespeare On Stage: Volume 2 - Twelve Leading Actors on Twelve Key Roles by Julian Curry, with a foreword by Nicholas Hytner.