In Whistling as an Art by Agnes Woodward, readers are taken on a journey exploring the historical and cultural significance of the art of whistling. Through meticulous research and engaging storytelling, Woodward delves into the roots of whistling as a form of artistic expression and communication, shedding light on its often overlooked role in various societies. The book is written in a clear and informative style, making it accessible to a wide range of readers interested in the intersection of music, culture, and history. Woodward incorporates a blend of anecdotes, interviews, and musical analysis to bring the art of whistling to life on the page. Whistling as an Art stands out as a unique and thought-provoking exploration of a lesser-known art form, making it an essential read for those curious about the diverse world of music and its cultural implications. Agnes Woodward, a renowned music historian with a background in ethnomusicology, brings her expertise and passion for lesser-known musical traditions to Whistling as an Art. Woodwards deep understanding of the cultural contexts in which whistling has thrived allows her to offer valuable insights and connections that enrich the readers experience. Her dedication to uncovering the historical roots and contemporary significance of whistling shines through in this comprehensive and engaging work. I highly recommend Whistling as an Art to anyone interested in expanding their knowledge of musical traditions and exploring the multifaceted ways in which art intersects with culture. Agnes Woodwards insightful exploration of the often overlooked art of whistling offers readers a fresh perspective on the power of music in society, making it a must-read for scholars, music enthusiasts, and curious minds alike.

In What Actors Do, revered theatre director Mike Alfreds explores the wellspring of the actors craft, tracing a pathway to creative freedom through the thickets of competing methodologies and confusing paradoxes that you will face throughout your training and career.How do you give life to a character that both is and isnt yourself? How can you be childlike and open in your work without becoming childish? How, when you know whats coming next, can you still be spontaneous?Frank, uncompromising and full of sharply focused insights, this book will help you strip away the inhibitions and habitual thinking that can shackle our imaginations. It will show you how to generate truthful performances by trusting your inner creativity and remaining radically open, responsive and present in every moment.Mike Alfreds has been directing plays for more than seventy years. In the 1970s he founded Shared Experience, and has since worked for the National Theatre, Shakespeares Globe, the Royal Shakespeare Company and also extensively abroad. He is hugely respected within the profession, and is the author of two previous books, Different Every Night and Then What Happens?If I was allowed to train again to be an actor, but I was only allowed one teacher, it would have to be Mike Alfreds. To me he is a genius when it comes to acting and storytelling Mark Rylance

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.

Verdadero y falso es una granada de mano en forma de libro, diseñada para dinamitar el teatro pretencioso y deshonesto que se practica hoy en día. Sunday TimesPublicado en 1998 por primera vez, Verdadero y falso se ha convertido en un titulo de referencia para el actor y el creador actuales, que a menudo, se encuentran atrapados entre su propio oficio y el negocio del espectaculo. Este libro se dirige al actor de una forma tan sincera como irreverente, Arremete contra las vacas sagradas de la interpretacion -especialmente contra los valedores del metodo Stanislavski y los agentes del negocio teatral- y propone en cambio nuevas formas de valorar y acercarse a un personaje, de trabajar un texto, de enfocar los ensayos y las audiciones y de sobrevivir, con la maxima cordura, en el negocio de la interpretacion conservando y protegiendo tanto la dignidad personal como el compromiso actoral.Mamet apela al coraje que requiere mostrarse en escena como acto en si, sin añadidos, y disecciona, con su mordacidad habitual, las razones por las que un actor no debe asistir ni a escuelas ni a cursos de interpretacion. Desbancando los lugares comunes, proporciona a la vez una valiosa orientacion para que el actor pueda sacar lo mejor de su oficio.

Adolphus Charles Troughtons Vandyke Brown: A Farce in One Act is a delightful comedic play that satirizes the art world of the late 19th century. Troughtons witty dialogue and lively characters bring to life the absurdity of the art scene, with a particular focus on the pretensions of aspiring artists and their unconventional methods. The plays fast pace and clever wordplay make it a joy to read, capturing the essence of farce in a single act. Set against the backdrop of bohemian Paris, Vandyke Brown showcases Troughtons keen observation of human foibles and societal quirks, making it a timeless piece of comedic literature. Fans of theatrical farce and art history will appreciate the humor and insight found within these pages. Adolphus Charles Troughtons background as a playwright and art critic undoubtedly influenced the creation of this witty piece, providing readers with a unique perspective on the intersection of art and entertainment. Vandyke Brown is a must-read for anyone looking for a lighthearted yet thought-provoking exploration of the art world and its eccentric inhabitants.

En este texto, fruto de más de cuarenta años dedicados a la formación de actores, Uta Hagen define los objetivos que debe perseguir un actor y proporciona las técnicas específicas para lograrlos. Así, plantea ahondar en los sentidos fisicos y en la propia psicologia para ofrecer una buena interpretacion, y propone ejercicios que permiten recrear emociones autenticas en escena. Gran conocedora de las dificultades con que se enfrenta un actor al dar vida a un personaje, ofrece tambien soluciones a dificultades concretas como la forma de recrear el aire libre en la escena, encontrar una ocupacion mientras se espera en el escenario, hablar con el publico, aprender a usar la imaginacion historica y ser capaz de interpretar personajes de epoca con autentica conviccion. En definitiva, Uta Hagen ofrece un sinnumero de ayudas practicas que han hecho de ella una de las pedagogas mas influyentes de Estados Unidos, con alumnos tan destacados como Geraldine Page y Jack Lemmon, y de Un reto para el actor un bestseller en lo que a aprendizaje teatral se refiere.

Three English art students in Paris (Taffy, Laird, and William Bagot alias Little Billee) meet musicians Svengali and Gecko and the artists model and laundress Trilby OFerrall.Trilby is cheerful, kindhearted, bohemian, and completely tone-deaf. Yet despite being off-key, her singing voice nonetheless has an impressive quality. The Englishmen and Trilby become friends. Svengali tries to persuade Trilby to let him train her voice, but she finds him repulsive and even frightening. She and Little Billee fall in love, but his scandalized relatives get her to promise to leave him. She leaves Paris with her little brother, who later dies of scarlet fever. Trilby then falls under Svengalis influence. He hypnotises her and transforms her into a diva, La Svengali. Under his spell, Trilby becomes a talented singer, performing always in an amnesiac trance. Five years later, Little Billee is a famous painter. He, Laird and Taffy recognise Trilby as she performs at a concert. Trilby sings beautifully but does not appear to be in good health. What will happen to Trilby now? Will she and Svengali have a happy ending? Read on!

In Treatise on Modern Magic by Professor Hoffmann, readers are offered a comprehensive guide to the practice of modern magic. This treatise delves into various forms of magic tricks, illusions, and sleight of hand techniques, providing detailed explanations and step-by-step instructions. The book is written in a clear and scholarly style, making it accessible to both beginners and advanced practitioners of magic. Professor Hoffmanns work is considered a classic in the field of magic literature, valued for its insightful analysis and practical tips. This book serves as a valuable resource for anyone interested in learning the art of modern magic. Professor Hoffmanns extensive knowledge and expertise in the field of magic shine through in this authoritative and informative treatise. His passion for the subject is evident in the meticulous research and thoughtful explanations provided in the book. I highly recommend Treatise on Modern Magic to magic enthusiasts and aspiring magicians looking to deepen their understanding and skills in the world of magic.

A step-by-step guide to Physical Theatre in both theory and practice - full of detailed exercises and inspiring ideas.In Through the Body, based on twelve years of teaching physical theatre, Dymphna Callery introduces the reader to the principles behind the work of certain key 20th-century theatre practitioners (Artaud, Grotowski, Meyerhold, Brook and Lecoq, among others) and offers exercises by which their theories can be turned into practice and their principles explored in action.The book takes the form of a series of workshops starting with the preparation of the body through Awareness, Articulation, Energy and Neutrality. A section on Mask-work is followed by further work on the body, investigating Presence, Complicite, Play, Audience, Rhythm, Sound and E-motion.The book - and the work - culminates in sections on Devising and on the Physical Text. There is also a thorough bibliography and a contact list of training courses in the UK and abroad.

ACTINGis a vast and relatively unknown subject... for many. And yet millions are fascinated by it. Why? The answer is because this all-encompassing human art form is as fundamental to the self-actualisation of a human being as reading, writing and maths. We sense this. We know it. Surely the possession of such knowledge would be of great advantage in any profession,in any walk of life, and not just the preserve of stage and film?Why are we not taught these playful and transformative skills in school? This book uncovers why, and reveals top acting secrets, techniques and games that will dramatically change the way you see yourself and the world around you. This is a wonderfully helpful book regarding the importance of adults learning to play again, in order to free themselves from the oppressive everyday tramlines we follow... Josephine is a great inspiration to many people and this book will show you why. Peter Richardson- founder of the COMIC STRIP troupeSculptress of the creative spirit, enkindling in even our most timid selves a passion for play, interconnectedness, listening, ritual and generosity on all of lifes stages,Josephine is an indelible force of love and wisdom, at once ready for a fit of laughteror all hell to break loose. For her teachings and humanity, my immeasurable gratitude! Watch out for that fourth wall; you might fall through it reading this book. Seumas F. Sargent, Performer, Blue Man Group, Berlin Youre a rock, an inspiration, a star-I wish to the heavens Id had teachers like you when I was at school! My God, I could have done anything. Richard Down- a player My life changed beyond all recognition during the last four years coming to your classes with many, many challenges. The safe loving environment you created has been a great source of strength-even when I have been unable to attend! It has been a very important part of my liberation. Louise Gough- a player

In The Mormons and the Theatre; or, The History of Theatricals in Utah by John S. Lindsay, the author delves into the complex relationship between the Mormon community and the world of theater in Utah. Through meticulous research and engaging narrative, Lindsay explores how the Mormons grappled with the moral implications of this form of entertainment, shedding light on a lesser-known aspect of Utahs cultural history. Combining historical analysis with insightful commentary, the book offers a unique perspective on the intersection of religion and performance in the American West. Lindsays writing is scholarly yet accessible, making this book a valuable resource for anyone interested in the history of theater in Utah and the Mormon culture. Drawing on a range of primary sources and his expertise in American religious history, Lindsay provides a compelling account of the challenges and triumphs faced by the Mormons in navigating the world of theatre. For readers seeking a thought-provoking exploration of religious attitudes towards popular entertainment, The Mormons and the Theatre is a must-read.

This comprehensive, easy-to-use guide contains everything you need to plan and deliver effective drama sessions, get the best out of your participants, and develop an empowering leadership style that works for you.Drawing on over fifteen years experience of running workshops including for the National Theatre, The Old Vic, Barbican, Battersea Arts Centre and National Youth Theatre Linden Walcott-Burton takes you through everything you need to know, with essential advice on:- Your Workshop: How to plan and structure a successful session; how to deliver it effectively, whether in-person or online; how to devise and run an entire course.- Your Group: How to motivate and get the best out of your group; how to encourage positive behaviours and manage challenging ones; how to adapt to different groups and needs; how to give and receive feedback.- Yourself as a Workshop Leader: How to empower yourself by owning the space and maintaining boundaries; how to use your voice (and not lose it); how to harness the power of humour and fun.Packed with tips and techniques that work with any setting and age group, whether youre running a short session or a longer course, the book also provides specific guidance on delivering workshops in schools, working with disabled people and those with learning disabilities, and safeguarding when working with children and young people. Theres also advice on co-facilitating, working with assistants and finding work.Organised in handy, bite-sized chunks allowing you to find just what you need, the book also includes sample workshop plans and content, with additional insights and examples of best practice from many other leading practitioners in the field.Whether youre just starting out and want to learn the basics, or youre a seasoned facilitator looking for fresh ideas, The Drama Workshop Leader is the resource you need to deliver a great session in any room you walk into, no matter whats thrown your way.Every practitioner, no matter their level of experience, will gain so much from this book Jackie Tait, Primary Programme Manager, National Theatre Learning

This carefully crafted ebook: "The Complete Speeches of Mark Twain" is formatted for your eReader with a functional and detailed table of contents. In addition to being a great novelist, Mark Twain was one of the most popular public speakers of his day. This collection brings together in a single volume the complete collected speeches of Mark Twain which was first published in 1871. Table of Contents: The Story Of A Speech; Plymouth Rock And The Pilgrims; Compliments And Degrees; Books, Authors, And Hats; Dedication Speech; Die Schrecken Der Deutschen Sprache [The Horrors Of The German Language]; German For The Hungarians; A New German Word; Unconscious Plagiarism; The Weather; The Babies; Our Children And Great Discoveries; Educating Theatre-Goers; The Educational Theatre; Poets As Policemen; Puddnhead Wilson Dramatized; Daly Theatre; The Dress Of Civilized Woman; Dress Reform And Copyright; College Girls; Girls; The Ladies; Womans Press Club; Votes For Women; Woman-An Opinion; Advice To Girls; Taxes And Morals; Tammany And Croker; Municipal Corruption; Municipal Government; China And The Philippines; Theoretical Morals; Laymans Sermon; University Settlement Society; Public Education Association; Education And Citizenship; Courage; The Dinner To Mr. Choate; On Stanley And Livingstone; Henry M. Stanley; Dinner To Mr. Jerome; Henry Irving; Dinner To Hamilton W. Mabie; Introducing Nye And Riley; Dinner To Whitelaw Reid; Rogers And Railroads; The Old-Fashioned Printer; Society Of American Authors; Reading-Room Opening; Literature; Disappearance Of Literature; The New York Press Club Dinner; The Alphabet And Simplified Spelling; Spelling And Pictures; Books And Burglars; Authors Club; Booksellers; "Mark Twains First Appearance"; Morals And Memory; Queen Victoria; Joan Of Arc; Accident Insurance Etc.

The Art of Acting provides a basic introduction and general advice for people wishing to develop their skills as actors or actresses. It is aimed at both the amateur enthusiast and for those wishing to pursue their interest further and undertake professional training. Advice is given on the basic skills which every actor needs to develop, such as breathing, voice control, the use of body language, timing and handling the audience. The importance of understanding a text and the interaction of the characters within it is considered, as is the relationship between the actor/actress and director.Auxiliary activities such as actors exercises and warm-ups are evaluated and general advice provided. Specific skills are discussed, such as the learning of lines, mime, mastering dialects and accents, period manners, and ensuring that make-up is suitable to the role.Summaries of the ideas of famous theorists, directors and actors, are included such as: Stanislawski, Lee Strasberg, Michael Chekhov and Dorothy Heathcote; Peter Brook and Peter Hall; and John Gielgud, Laurence Olivier, Simon Callow, Ian McKellen, Judi Dench, Alec Guinness, Michael Caine and Dirk Bogarde.There is also some consideration of the differences between stage and screen acting; the problems of acting in the open air and the particular demands of certain playwrights, such as Shakespeare, and Brecht.

Many theatre practitioners think of physical theatre as one thing and text-based theatre as another. In this book, Dymphna Callery, author of Through the Body: A practical guide to physical theatre, shows how exercises and rehearsal techniques associated with physical and devised theatre can be applied to scripted plays. Working through the body enables performers to discover what really makes a play work.Drawing on key practitioners, including Jacques Lecoq, Joan Littlewood, Peter Brook and Simon McBurney, The Active Text offers a complete approach to working with a scripted play, leading the reader through a process of active exploration and experimentation that includes:Uncovering a plays internal dynamics Using improvisation and theatre games Exploiting the languages of the body Getting inside the words that are spoken (as well as those that arent!) Discovering image structures Understanding the impact on the audienceThroughout the book, the author draws on a core selection of well-known texts (from Sophocles and Shakespeare to Brecht, Arthur Miller, Steven Berkoff and Sarah Kane), showing how an active approach to text can challenge assumptions about even the most familiar of plays.Packed with theatre games, improvisation exercises and rehearsal techniques, The Active Text is an inspirational guide for performers, directors, students and teachers. It will revitalise work in the rehearsal room, workshop or classroom - anywhere that dramatic text needs to be brought to life.

Augusto Boal desarrolló los principios contenidos en Teatro del Oprimido en la década de 1970 en Brasil, en el seno de una renovación cultural en torno a la práctica del arte escénico como una actividad dedicada a la mejora efectiva de la vida de los grupos sociales mas desfavorecidos. Fue en esta obra donde Boal articulo el embrion de un metodo que permitia facilitar el reconocimiento de la naturaleza y origen de las opresiones mas profundas para poderlas combatir. Su propuesta es subvertir radicalmente las convenciones que dominan el mundo de la representacion, transformando al espectador en protagonista de la accion dramatica para que pueda preparar acciones reales que le conduzcan a la propia liberacion. Con espiritu brechtiano, de ahi partio la investigacion de Augusto Boal que, a lo largo de los años, ha dado como resultado el Teatro Legislativo, el Teatro Invisible, el Teatro Imagen y el Teatro Forum y la practica teatral en su vertiente terapeutica conocida como El arco iris del deseo. En la Estetica del Oprimido, Boal lanza las bases de una Estetica que corresponda a las necesidades de los oprimidos, sin copiar las Esteticas dominantes de los opresores.Teatro del Oprimido fue publicado originalmente en dos volumenes en 1973 -el segundo titulado Juegos para actores y no actores- y pronto se revelo un texto ineludible de referencia, tanto en el ambito de la creacion teatral como en el del activismo politico, la psicoterapia, el arte y la educacion social. Ahora recuperamos en español una version revisada y ampliada por su autor.Augusto Boal (Rio de Janeiro, 1931-2009), estudio en la School of Dramatic Arts de la Universidad de Columbia, en Estados Unidos. Ademas de director y pedagogo, es autor de varios libros sobre tecnica teatral, basados en su propia experiencia, entre los que destacan Teatro del oprimido, germen de sus trabajos posteriores contra la opresion, y Juegos para actores y no actores, ambos publicados en Alba. Su obra ha sido traducida a mas de veinticinco idiomas Dirigio durante años un centro de Teatro del Oprimido en Paris y otro en Rio de Janeiro.Augusto Boal ha sido premiado, entre otras instituciones, por la UNESCO, las Universidades de Nebraska, Goteborg, el Instituto de Teatro de Puebla (Mexico), LInstitut de Teatre de Barcelona y, recientemente, ha sido nombrado Doctor Honoris Causa de la Universidad Queen Mary de Londres.

Auditions remain a constant requirement in an actors life, whether beginner or seasoned professional, and the attendant nerves and pressure to succeed in an intensely competitive industry is something that all actors need to learn to negotiate. This guide is aimed at those wishing to undertake in-depth training to develop the physical, vocal, imaginative and emotional skills necessary for a varied career in stage or screen. Offering practical advice, it takes readers through the audition process to the moment of acceptance at a drama school. The second section looks at first steps into the profession and how to prepare confidently for auditions and meetings, whether live or by self-tape, so that actors can meet the professional environment with confident ownership of their skills. Topics covered include: choosing your school; selecting audition material and preparing it; an analysis of a contemporary and a classical speech; the audition cycle and self-taping for video auditions. It also features practical and honest insights from casting directors, industry professionals and recent graduates, as well as up-to-date guidance for online auditions.

Clara Morriss Stage Confidences is a captivating memoir that offers readers a behind-the-scenes look into the theatrical world of the late 19th century. Morris writes in a candid and engaging style, recounting her experiences as a leading actress and shedding light on the challenges and triumphs of life on the stage. This book provides valuable insights into the art of acting and the intricacies of the theatrical profession during this time period, making it a must-read for theater enthusiasts and scholars alike. Morriss literary style is both evocative and informative, drawing readers into her world with vivid descriptions and personal anecdotes. Stage Confidences is a valuable literary work that not only entertains but also educates, offering a unique perspective on the theatrical culture of the Victorian era. Clara Morriss firsthand account of her life as a stage actress is a compelling read that is sure to fascinate readers interested in the history of theater and the performing arts.

The essential guide to getting into drama school.Packed with sound advice and essential information for young people who want to train as actors and performers (including musical theatre), this clear and honest guide is written by a teacher and audition panellist with a lifetimes experience of the audition process. It will help all aspiring actors develop the self-confidence, motivation and skills required to get into the drama school of their choice.Topics include: Researching and selecting the appropriate drama school Making yourself the best prepared candidate Choosing and preparing your speeches and songs Developing your working process and your self-awareness Coping with the audition day itself Considering your next steps if you do (or dont) get in. Also includes suggestions of speeches and songs to look at (as well as those you should avoid), information about the major UK drama schools, how to obtain funding, suggested further reading, and an introduction to the theatrical terms and genres that every prospective student should know.provides precisely the information and advice aspirant actors need... if you are a potential drama student, or the parent of one, buy this bookThe Stage

A handbook for aspiring actors by two of the best-known names in British theatre and television. It offers practical advice and dos and donts to anyone thinking of taking up acting. The authors are passionate about actor training, know the profession inside out and have more than a hundred years experience between them...Writing alternately throughout the book - and sometimes offering radically different opinions - they cover over sixty topics including:Drama school Auditions and interviews Agents Financial Security. Learning the lines. Working in television/radio. Touring Media attentionCharmingly informal but full of sound advice, So You Want To Be An Actor? is essential reading for anyone with their eye on a career in acting.one of the most valuable books for young and aspiring actors that I have read in recent years... a book to keep with you from debut to deathRogues and Vagabonds Theatre Website