eBooks de Formación del actor, página 2 de 8

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.

A revised and updated edition of Declan Donnellans bestselling book, a fresh and radical approach to acting by a world-famous director.Cuts open every generalisation about acting and draws out gleamingly fresh specifics Peter BrookExplains Donnellans highly practical system and sheds unique light on one of the greatest directors of acting in our timeLe MondeHugely practical and never gets lost in theoryEl PaisA gripping read, as acute about the psychology of lying as it is about the art of actingGuardianRooted in modern theatre, modern psychology and, above all, modern realityIzvestiaUnpretentious, straightforward, and pierced with acute insightKommersant

There is no acting, only reacting to the space.In his bestselling book The Actor and the Target, Declan Donnellan laid out a fresh and radical approach to acting that has inspired actors around the world.Now, in The Actor and the Space, he develops and extends those ideas, exploring that most profound source of vitality in life as well as performance: the space around us.Tackling fundamental questions that face any actor What makes performance better? How do I create a space for my character to live in? How do I tap into that space, and draw energy from it? Donnellan offers a universal set of keys to unlock the mysteries of performance.Full of insightful precepts, acute psychology and practical, hands-on advice, the book presents a bold new way of thinking about acting, illustrated throughout with line-by-line analysis of scenes from Macbeth to show how it works in rehearsal and performance.Essential reading for any actor or theatre director, The Actor and the Space is also a fascinating distillation of the work of a world-leading director that will reward and enrich anyone with an interest in theatre.A hand grenade of a book. It contains all the humility and chutzpah you need to work in the theatre. Cate BlanchettA wonderful book. Few directors think as deeply or perceptively about the art of acting as Declan Donnellan. This is an essential text for the actor, supremely useful, practical, elegant and profound. Matthew MacfadyenBeautifully clear. This generous vision takes a very complex art form and makes it all seem so simple. The whole book is a key. Unlocking the problems actors face as they try to accept another reality long enough to let the audience get a glimpse of the best our art can offer a glimpse into themselves. Adrian Lester Declan Donnellans profound insight and point of departure is that great theatre, like a childs sandcastle, inhabits a vulnerable and ever-changing space between the safe and the dangerous. There is a whole lot of wisdom in this book about tragedy, human psychology, words, dread and about how great acting really works conveyed with remarkable clarity and simplicity. Its worth sharing with non-actor friends for its insights into Macbeth alone. Most of all, its a distillation of hard-won lessons learned from decades of immersion in the mysteries of theatre by one of the great directors of our day. James Shapiro, Shakespeare scholar and author of 1599: A Year in the Life of William Shakespeare

Drawing on his lifetime career in front of the camera (and sometimes behind it), Denis Lawson offers a wonderfully accessible introduction to acting for film and TV. For the young actor hoping to break into the industry whether in a drama series, soap or sitcom this book is the ultimate insiders guide.In The Actor and the Camera, Denis Lawson takes us on a guided tour of the film or TV set from day one. We meet the various members of the crew, from the director of photography to the 1st, 2nd and 3rd ADs, and learn what each of them does and how to get the most from them in your work as an actor. Then comes the actual business of shooting the scenes, beginning with readthroughs and rehearsals (if there are any), on to hitting your mark and getting your eye-line right, finishing with the actors involvement in post-production. Throughout, Lawson takes the actors point of view, offering encouragement and enlightenment, as well as being refreshingly candid about some of the more inane procedures. Above all, he offers a magnificent array of tips and inside knowledge for coping with what can be a daunting experience for a hopeful young actor.Denis is a great actor and hes always been my inspiration, since I was a child Hes the only person really in the world who I discuss acting with if I feel that Im stuck. I love watching him still.Ewan McGregor

Las páginas de Teatro holístico son una introducción al teatro desde un enfoque que lo concibe no solo como representación, sino además como práctica de expansión creativa.A través de conceptos clave e inspirado en diversas voces y corrientes teatrales, el texto invita al lector a descubrir como se articula esta perspectiva, que integra cuerpo, emocion y pensamiento. Asi, en dialogo con el teatro tradicional, Matto Lopez Esposito nos muestra que ambos pueden complementarse y generar un espacio de trabajo enriquecido.Esta es una invitacion a mirar la escena como un espacio sagrado. Para quien se atreva a cruzar este umbral, el teatro dejara de ser solo representacion: sera camino, transformacion y presencia plena.

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.

An inspiring, practical guide to working with young people on their voices, by a highly experienced teacher, actor and director.Teaching Voice is for all youth-theatre leaders, workshop facilitators, teachers or lecturers who want to help their students to develop their voices either as a component in theatre training, while rehearsing a play, or for the benefit of their personal development.It offers a step-by-step course of workshops and themed sessions, along with a series of exercises and vocal warm-ups from the tried-and-tested to the truly innovative. Included are: Full plans for two ninety-minute core sessions, laying the essential foundations of voice work: breath, diction, resonance and relaxation Seven themed workshops exploring individual aspects including projection, rhythm, the power of language, emphasis and Shakespeare Micro sessions that can be used within the structure of any session, or when time is short Further sessions to help incorporate voice work into rehearsals for a school or youth-theatre production Also included is a personal exercise plan to help you develop your own skills and confidence as a voice teacher, whatever your level of experience.Teaching Voice is an invaluable resource for anyone involved in vocal training for young people, whether youre looking for a structured programme of workshops, or simply for some fresh ideas to inspire your students.

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

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

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.

This is a book about how to beat the living daylights out of another human being safely...Roger Bartlett professional fight director and Master Teacher for the British Academy of Stage & Screen Combat leads you through everything you need to know in order to create and perform unarmed stage fights that are compelling, realistic and, above all, safe.Starting with the essential concepts, including Victim Control and Reversal of Energy, you will learn how to perform all of the following moves: Slapping Punching Kicking Strangling Pulling and Pushing Falling Locking Blocking Each technique is clearly described, extensively illustrated, and accompanied by online videos demonstrating it in slow motion and at full speed. Also included are chapters on understanding and conveying your characters pain, and creating and rehearsing your own fight sequence.For those already trained in stage combat, it will serve as a comprehensive reminder of what you have learned, and supplement your ongoing training. For amateur, fringe and student companies, the book offers a thorough understanding of the practicalities of staging a fight, but also helps you to recognise when you may need to call upon the services of a qualified professional.Whatever your current level of experience, Stage Combat: Unarmed is the essential book for directors, actors, students and teachers, or indeed anyone looking to incorporate safe, effective stage fights into their productions.

This clear and comprehensive manual contains everything you need to know in order to create and portray armed stage fights with the rapier and dagger (or just a rapier) that are dramatically effective, and, above all, safe.Starting with the essential concepts, including footwork, eye contact, targeting and distance, it then takes you step by step through all the key techniques:Performing attack moves including slashing and slicing, thrusting, and cutting Parrying moves and defending yourself against attacks using a single weapon or two weapons together Counterattacks such as taking control of your partners blade and ripostes Each technique is clearly described and extensively illustrated, with accompanying online videos demonstrating every move. Also included are sections on how to put together your own fight sequences, make them dramatically compelling and realistic, and convey your characters pain, wound or death.Whether you are an actor preparing for a role with a sword fight, or a student learning your craft, this book will help you execute the techniques with precision and control, build your confidence and keep you safe. It also helps you to recognise when you may need to call upon the services of a qualified professional. For those already trained in stage combat, it will serve as an invaluable refresher as well as supplementing your ongoing training.Whatever your current level of experience, Stage Combat: Armed is a vital resource for directors, actors, students and teachers, or indeed anyone looking to incorporate safe, effective sword fights into their stage productions.Roger Bartlett is a professional fight director and Master Teacher for the British Academy of Stage & Screen Combat (BASSC), the UKs leading provider of stage-combat training. He is also the author of Stage Combat: Unarmed.

Why does Shakespeare write in the way he does? And how can actors and directors get the most out of his incomparable plays?In Speaking the Speech, Giles Block Master of the Words at Shakespeares Globe sets out to answer these two simple questions. The result is the most authoritative, most comprehensive book yet written on speaking Shakespeares words.Throughout the book, the author subjects Shakespeares language to rigorous examination, illuminating his extraordinary ability to bring his characters to life by a simple turn of phrase, a breath or even a pause. Block shows how we can only fully understand these characters, and the meaning of the plays, by speaking the words out loud.Drawing on characters from across all of Shakespeares plays and looking in detail at Macbeth, The Winters Tale, Hamlet, The Merchant of Venice and Much Ado About Nothing Block covers everything the actor needs to know, including: the essential distinctions between prose, rhymed verse and unrhymed verse, and the different strategies to be used when speaking them; the difference between you and thou; Shakespeares use of silence; and the vital importance of paying attention to Shakespeares original punctuation.Speaking the Speech is a book for actors and directors who want to improve their understanding of Shakespeares language in order to speak it better. It is also a fascinating read for anyone who wants to deepen their appreciation of Shakespeares language and the way it comes to life when spoken aloud.We call Giles our Text Guru at the Globe, partly in jest, and partly out of respect for the depth of his knowledge, the gentleness of his teaching, and the sudden illuminations he can throw across a play. If this book can afford even a small part of the pleasure and insight Giles can provide in person, then it will be a great asset. Dominic Dromgoole, Artistic Director, Shakespeares GlobeGiles deepened my love for Shakespeare and for the way we all speak. I trust you will have a similar experience reading his book. Mark Rylance, from his Foreword

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.

A handbook for aspiring actors by two of the best-known names in British theatre and television.So You Want To Be An Actor? by Timothy West and Prunella Scales 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.

The opportunities for presenters have never been greater. But, although its seen as a glamorous job and a step to celebrity, being a TV presenter is also hard work, and demands a varied range of journalistic, technical, performance and personal skills.With a background in TV directing, working with professional presenters and training new ones for the TV industry, Kathryn Wolfe takes you through the techniques and skills required to become a successful presenter, including: How to read from a prompt and use in-ear monitoring How to talk to camera and talk to time How to cope with live, recorded, studio and location shoots How to present from home How to present for specialist channels (childrens, shopping, weather) How to create a successful CV and convincing showreel Hands-on exercises and checklists will guide you through improving your posture, overcoming nerves, developing correct breathing and good diction, being natural, evaluating your performance, and much more. The book is also packed with accessible advice and top tips from dozens of experienced and new presenters currently working on TV. It tells you what happens in auditions, and, above all, how to go about getting a job as a presenter.This revised and updated edition includes new material on self-tapes, presenting from home, and other recent changes to the industry.Essential and entertaining, this is a superb one-stop shop for anyone aiming at an on-camera career. Invaluable insider insights from a top telly-box talent Paul Ross (The Big Breakfast, Channel 4; Jeopardy!, Sky One; This Morning, ITV)Kathryn is the consummate teacher in TV presenting. Skilled at helping people find their own style, while combining with traditional tips and tricks used by more established presenters Claudia-Liza Vanderpuije (Jeremy Vine, Channel 5; 5 News)This splendid book covers every aspect of the job. I look forward to seeing you on my telly! Chris Tarrant (Who Wants to Be a Millionaire?, ITV)Accessible, engaging and easily read a great companion guide on your journey Natasha Huq (Grand Designs: The Streets, Channel 4)

An essential handbook for anyone who wants to act on television and film by a leading teacher of screen acting.For any aspiring screen actor, the challenge is to combine all the components of your craft with an ability to handle the technical demands of acting for the camera within the often bewildering environment of a film set.Michael Bray takes you step by step through all the challenges youll face, demystifying the processes youll encounter, and helping you develop the necessary skills, including: How to approach the script and prepare your character How to maintain your concentration and learn to relax on set How to deliver your lines and improve your vocal range How to master continuity, eye lines, and hitting your marks How to tackle auditions to ensure your best chance of getting the job Full of invaluable advice, extracts from screenplays, numerous illustrations and practical exercises which can be undertaken on your own, using the camera on your phone this book is an accessible and authoritative guide to developing a successful career as a screen actor.

Sister Carrie: A Novel Theodore Dreiser - Sister Carrie (1900) is a novel by Theodore Dreiser about a young country girl who moves to the big city where she starts realizing her own American Dream by first becoming a mistress to men that she perceives as superior and later as a famous actress.Selected by the Modern Library as one of the 100 best novels of all timeAmerican writing, before and after Dreisers time, differed almost as much as biology before and after Darwin, said H. L. Mencken. Sister Carrie, Dreisers great first novel, transformed the conventional fallen woman story into a bold and truly innovative piece of fiction when it appeared in 1900. Naive young Caroline Meeber, a small-town girl seduced by the lure of the modern city, becomes the mistress of a traveling salesman and then of a saloon manager, who elopes with her to New York. Both its subject matter and Dreisers unsparing, nonjudgmental approach made Sister Carrie a controversial book in its time, and the work retains the power to shock readers today.Sister Carrie came to housebound and airless America like a great free Western wind, and to our stuffy domesticity gave us the first fresh air since Mark Twain and Whitman, noted Sinclair Lewis. Dreiser enlarged, willy-nilly, by a kind of historical accident if you will, the range of American literature, observed Robert Penn Warren. [Sister Carrie] is a vivid and absorbing work of art.

Simon Russell Beale discusses playing Cassius in Shakespeares Julius Caesar 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, Simon Russell Beale discusses playing Cassius in Deborah Warners modern-dress Julius Caesar at the Barbican Theatre, London, in 2005.This interview, together with the others in the series (with actors such as Alan Rickman, 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.

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.