Acting calls upon inner powers and perceptions, but most of all it calls upon the actor's imagination. In this text, Janet Sonenberg offers a technique for exploring the imagination. The term dreamwork describes the process by which an individual can free the dreaming mind to explore issues or materials from the waking state.

Drawing upon her wide experience as actor and director, Janet Sonenberg shows what dreamwork can do. No other acting technique offers the performer's own dreams as a means to profoundly deepen imaginative and artistic expression. This is a wholly new tool with which actors can unleash startling performances.

On a warm evening a man is crying Howl, howl, howl as he carries in his arms the body of a young woman. This isn't urban violence, it's Gorilla Rep's production of King Lear. There are no sets. The action uses available space: a parking lot, a pedestrian mall, a field. The audience - students, theater lovers, passersby, homeless people - move along with actors, from a tree to a fountain to a bench, and the audience may follow a portion of the performance or all of it. This is one of the most radical, and yet most easily available, concepts in theater: make the world the theater, make the...

Singing with Your Own Voice is a comprehensive, practical, and encouraging book full of exercises and tips for anyone who wants to - even needs to - sing. Actors in straight plays, performers in musicals, professionals and amateurs, even people singing in choirs or bands will all benefit from Orlanda Cook's expert guidance. Cook lays bare basic truths about singing. We are born noisy -- singing is part of what human animals do. Yet often we are inhibited as singers because we worry that we aren't doing it right or creating the right sound. Cook shows that the breadth and potential of the...

Jean Benedetti's Stanislavski is the clearest and most succinct explanation of Stanislavski's writings and ideas, especially those in the Stanislavski's acting trilogy An Actor Prepares, Building a Character, and Creating a Role a staple of every actor's library.

Now available in an attractive new edition, Stanislavski: An Introduction provides the perfect guide through the Master's writing.

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First Published in 2004. Routledge is an imprint of Taylor & Francis, an informa company.

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...

A comprehensive instruction manual on how to liberate the singing voice that is within each one of us. Full of practical exercises, the book starts with an overhaul of our attitude to our voice. Topics covered include: overcoming inhibition; sound and resonance; and using your imagination.