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Actioning is one of the most widely used rehearsal techniques for actors. It helps bring clarity to every moment or thought in the text, energizing rehearsals and bringing performances to life. This step-by-step guide draws on concepts from Stanislavsky, using sample scenes from both classic and contemporary plays, and is filled with exercises to demonstrate the technique at work.

A brand-new actor-training system developed by the head of acting at the Italia Conti Academy. Nick Moseley takes the best of Stanislavsky, David Mamet, and Meisner to fuel his own intensely practical approach. The result is a punchy and empowering book intended to shake up ideas about acting. Each theory is tested and reinforced to challenge the student actor.

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...

This encouraging, no-nonsense guide walks you through the whole process of applying for drama school - including doing your initial research, selecting the right school for you, choosing and preparing your audition pieces, nailing the audition and dealing with recalls. This revised and updated edition incorporates recent changes to the application process such as online auditions, ensuring you have the most up-to-date information. Perfect for any aspiring actor, as well as anyone advising or coaching them, it will answer your questions, bust commonly held myths and give you all...

Emoting is not acting. Reproducing is not acting. Reacting is acting. With this powerful idea, Nick Moseley takes long-held views of actor training and opens them up to a productive new way of thinking about performance. Acting and Reacting stimulates thinking and reflection in both acting students and teachers. For too long, argues Nick Moseley, actor training has worked within superimposed concepts: on the one hand, the long tradition of Stanislavski, which has been countered more recently by the strongly anti-Stanislavskian views of David Mamet. Between the two, Moseley writes, is...