No comments about Moving History/Dancing Cultures: A Dance History Reader.

1 comments about Stanislavski and the Actor: The Method of Physical Action.

1. Benedetti first outlines Stanislavski's Method of Physical action, a term which Benedetti does not think accurately denotes the idea it represents. He prefers to refer to it as the Method of Analysis through Physical Action because it recognizes that physical movement is not the sole ingredient for good acting. Nonetheless, how an actor moves partly determines how his audience will react. If the movements are believable and comparable to the viewer's own movement, the viewer will be able to identify with the actor's performance. In other words, although acting is a created behavior, it must appear real. Benedetti coins the terms, the "Real I" and the "Dramatic I" to illustrate the difference and the process of creating a character. He notes the actor must "create a Dramatic `I' that will look and sound as human as a Real `I'" (4). The most important factor in making this transition, according to Benedetti, is belief. The actor must believe his situation is true, and his attitude toward his movements and the treatment of other actors and objects will seem true. There are three phases in achieving this goal: (1) I am being, which involves creating past and future character histories for the play along with dividing the play into its thematic parts and exploring the subtext, (2) The Third Being, where the text's structure is examined in the context of its history and the text merges with the actor's experiences and actions, and (3) The Creative Actor in the Play, which refines the actor's performance and cuts superfluous movement. Benedetti then explains Stanislavski's system, or technique, to create the Dramatic `I.' Stanislavski believed in continual practice of exercises to keep the actor's body and voice finely tuned like a musical instrument. Benedetti presents a variety of such exercises that attempt to break movements into their smallest parts, thereby making the actor acutely aware of how his body works. These exercises later translate into the components of dramatic action. For example, if an actor was supposed to place a candle down (like Jim in The Glass Menagerie scene with Laura), he would not just simply bend over and put the candle on the ground. The actor might first look around for a suitable place, set the candle down, then adjust its position to prevent the wax from dripping. The exercises for mental action are perhaps the most important for creating the belief necessary to create the Dramatic `I.' How an actor focuses his senses and concentrates on his surroundings is essential to a believable performance. The mechanics of focus and concentration are similar to the mechanics of movement, and Stanislavski encourages actors to dissect this as well. Understanding how one achieves this in reality also simplifies the process of creating an imaginary world for the actor. The actor imagines his character's past, present, and future memories along with much of his physical setting. With a trained imagination, Stanislavski believes an actor will believe he is the character. The section I found particularly helpful regarding creating this imaginary world dealt with subtext. It is similar to the GOTE method in its results, but is far simpler to remember once on stage. Stanislavski's initial analysis of a text's subtext involves creating an Inner Monologue that is accompanied by Mental Images. The actor predetermines his character's thoughts and sights for performance. Since, in reality, much of a person's thoughts are devoted to wants and needs, I have observed that the created inner monologue will map out the actor's goals. The benefit of the inner monologue, however, is that is supplies the logical transition between these goals. For example, if an actor's goal is first "I want to see X better," then "I want to kiss X," there is a significant mental jump. The inner monologue may be "I can't quite see X's face. Oh, he just stepped into more light . . . my, he's very attractive. I'd like to kiss him." Although it is a subtle difference, the inner monologue implies the goals while supplying a sensible transition between them (i.e. through-emotion, as Benedetti terms this).

2 comments about Theatre Games and Beyond: A Creative Approach for Performers.

1. ...and a good refresher course for theater educators or others who use the arts in the classroom. The games are organized into 12 units with titles such as "Trust" and "Reality," that guide your search for the right exercise, although I have found that randomly leafing through the pages proves equally as effective. The author places no age restrictions on the games, but most will work easily for students K-6, and many can be expanded or modified for older students. The quotations section in Unit 12 is especially inspirational and provocative. Schotz's style and attention to detail will reassure beginners.



2. Being a drama director with young adults, I am constantly in search of new ideas and concepts to continue to stretch their imaginations. I just received this today from Amazon.com and am extemely pleased at what a gem this one is. There are new ideas from cover to cover that I have not come across yet in my library of theater books. I am anxious to share most of these ideas with the kids I work with. Many of the "games and beyond" are excellent tools in challenging the creative process within actors of ALL ages and really allow them to go many steps further in their self-awareness as a performer. Another must have!

4 comments about An Actor's Guide--Making It in New York City.

1. A good book with great advice for any actor- whether you're from a sprawling Metropolis or from Dahlgren, Illinois! It definitely caters more to the aspiring New York Actor (like myself), but there are some good lessons in here for anyone looking to make a career in this exciting yet intimidating field. i recommend, as this was one of the very first books that I read when i was thinking of making acting a full time career.



2. I stumbled on this book by accident and boy am i glad i did! This book tells you step by step how to make it out there as an actor. If you're a actor and is not quite sure on how or where to start this book is your key.



3. I like this book alot. I can't say this is better than "How to be a Working Actor", but you actually need both books because some information that is found in one book is not found in the other. Like regular acting guides, you get tips on resumes, auditions, and unions. One useful tip for actors is to not over-rehearse a scene or monologue. This will make it stale. You should actually "forget" it and let it "happen". This is what you called acting. If you are familiar with Mr. Alterman's books, he always include interviews with industry people. I find them very helpful especially the interviews with several New York actors. This book is just as good as "Working Actor" and thinner too for faster reading.



4. While I didn't move to New York specifically to become an actor, I've sort of found myself happily "in the business" now. I randomly stumbled onto this book while looking for new wisdom to add onto must-reads by Uta Hagen, Michael Shurtleff, Stanislavski, etc. After having done a lot of research on how to be a successful actor in NY the "hard way", I think I agree with most of Alterman's suggestions - just wish I'd had this book in the beginning =)
   
   An actor should always be reading, attending a lecture or workshop - you know, doing *something* to learn. New York has its particular nuances, and this book simplifies some of the hassles that a newcomer might find overwhelming. It gives some useful advice on dealing with the three most important things you'll have do when you get here:
   
   *finding a place to live
   *finding a job you like ('cos you have to eat)
   *finding acting work, any and all kinds of work
   
   Having a thicker-than-average skin here is an absolute must, for rejections run a-plenty, and they have your name on them. But this place is also (in my view) the most exciting, rewarding endeavour you'll make in your performance career.
   
   This book has got lots of juicy info on auditioning, headshots, unions, different sorts of acting jobs (such as voiceover work), casting directors, agents, useful internet urls, etc. There are several interviews with casting agents & directors on dos-and-donts for actors - nothing beats knowledge from the professionals.
   
   Good luck, and welcome to the greatest theatre city in the world...

5 comments about Breaking and Entering: Landing Your First Job in Film Production.

1. I'm a film and television producer, and this is the first book I've come across that explains in plain English what it's like to work in production. But, it's tells you much more than that. By the time you finish reading this book, you'll have a complete understanding of how movies get made and the people who make it happen. You'll learn the "lingo" of the industry and the chain of command on a set. The author takes you step by step - explaining what the jobs are and how you can get one. Even if you don't want to work in production, you'll find it entertaining and informative. I have been using this book as a teaching tool in my production assistant workshops for the past few years. It has helped many of my students find work in the industry. If you want to work in this business, this is a must-read. What I liked most about the book is that it isn't the glamourized version of what it''s like to work behind the scenes, it's the real deal. In terms that anyone can understand. April Fitzsimmons has been there, done that and now written the book about it. Some of the fascinating parts include short personal stories from various people, about their experiences in the industry - the good, the bad and the ugly.

   I recommend to my students that they buy this book and keep it with them at all times, as a reference and as a reminder to never give up. I only wish this book was around when I first started working in production. My struggle wouldn't have been so difficult.




2. This book is a Godsend. I have put the amazingly lucid and learned advice to work in my own jobs on film sets, and now my brother is finding it equally enlightening as he tests the waters of filmmaking. I will continue to recommend this book to anyone who wants to work in film or simply understand what happens on the set. Insightful without the braggadacio that festers in so many books of its genre, this is a great find for the newcomer and the production veteran alike.



3. This book should be called "How Not to Get Fired From Your First PA Job." There is a good amount of detail about what a production assistant position is, but April Fitzsimmons' book does not even begin to cover what you need to do to GET the job in the first place (and I suspect that's what most people are really looking for).

   If you don't have connections and want a book that will actually help you get a foot in the door, this is definitely not the one. Maybe check out Kenna McHugh's "Breaking into Film: Making Your Career Search a Blockbuster." That book covers networking, different PA organizations, effective resume writing, and so on. Breaking and Entering provides none of this.




4. The first time you set foot on a film set certain things aren't always obvious. This book sets you on the right path from the beginning. Get a jump on all the P.A's entering the pool and act like a pro from day 1.



5. Of all the books I have seen on how to start at the bottom & learn the basic ropes of being a great PA. This is the book. If you want to impress producers & move up quick, read this book & implement what it says

1 comments about Dance Class: How to Waltz, Quick Step, Foxtrot, Tango, Samba, Salsa, Merengue, Lambada, and Line Dance, Step-by-step.

1. Let me begin by saying I know very little about ballroom dancing, but like so many others, my wife and I have gotten somewhat interested thanks to the Dancing With the Stars craze that has become so popular. She has insisted that we take dance lessons and, not being one eager to embarrass myself publicly, I wanted to at least know some of the basics before going in. DANCE CLASS by Paul Bottomer seemed a good starting point.
   
   The book is broken into three different styles of dance; club dances which include the tango, the salsa and even line dancing (yuck), International Latin-American Dances which include such dances as the mamba and the paso doble, and finally International Standard Partner Dances such as the waltz and foxtrot. The lessons of each dance begins with an historical overview of the dance, its origin, evolution and intended flavor.
   
   For the sake of brevity, I will follow the outline of the Salsa. After the historical review is given, next you will find the Musical Count. This area is one of, what I feel are the books short comings. The rhythm is described quite well, but for me, the musical backdrop would have been better illustrated with simply giving me some popular song titles in that particular genre that I could reference to acquire the proper musical "feel". Again, I know very little about ballroom dancing, and some specific mucical scores would have helped.
   
   Next, the basic moves of the Salsa are explained as well as the proper holds. In the specific case of the Salsa, seventeen varying Salsa moves are explained both verbally and with detailed photos. In some cases, though not all, as not with the Salsa, there are accompanying foot diagrams. These are not always easy to follow, but should have been included with every dance.
   
   In summary, I'm not dissappointed with this book. It accomplished what I ment for it to and that is to move me to the next level where I feel comfortable enough to begin basic ballroom lessons, but there are some areas that could have been improved upon and there may be other books in this field that are superior to this one.

No comments about Beijing Opera Costumes: The Visual Communication of Character and Culture.

No comments about On the Real Side: A History of African American Comedy.

1 comments about Designer Drafting for the Entertainment World.

1. This is the most complete and practical drafting text book that I have ever read. Not only does it illustrate excellent drafting styles and techniques, it also provides step-by-step instruction on how to create each kind of projection. I believe it raises the bar to all other books exploring this same topic. In my opinion, this book will eventually be included in all classes that prepare students for a professional technical performing arts career.

5 comments about A Funny Thing Happened on the Way to the Forum (Applause Musical Library).

1. The first commercially successful show for Stephen Sondheim, "A Funny
   Thing Happened On The Way To The Forum" is a delightful score that
   exhibited creativity and imagination and offered everyone a look at
   the marvelous work that was to come.



2. When I bought this item I assumed it had the chords written with the piano/vocal score as many others do. My son plays the piano but he reads the chords when he plays. So, I ended up returning it. So, if you don't need the chords I suppose it will be fine for you!



3. "Forum" is one of those rare musical comedies...one of those we hardly ever stuble across. "Forum" is actually funny. And I don't just mean "haha" funny. I mean roll in the aisles and laugh until it hurts funny. The jokes just never stop coming-even during the musical numbers!

   Here, one can see the springboard for three Tony award winning broadway productions: the script. This is the foundation of "Forum's" comic genius, with a combination of low-brow vaudeville and high-brow wordplay. Comedy in this show hits you at every level in every direction!

   The best part is that several songs cut from the show are included in an appendix. There is also a great introduction that explains that long and rough journey "Forum" took before it became a huge hit.




4. This book was very enjoyable. I would recomend it to anyone looking for a light hearted book to read that is not to difficult. This book makes you think of what could happen in your everyday life. I think everyone should read this book.



5. I thought the music was very wonderful and original and the way the music was displayed was very good indeed. The score not only is great in itself, it was also a great accompanyment to the liberetto book witch you can also get on amazon.com. for any lovers of this play or anyone who likes broadway at all, I would definatly recomend this book.