Skip to Content
The actor training reader

The actor training reader

Evans, Mark, 1957- editor

'The Actor Training Reader' is an invaluable resource for students and teachers of acting, offering access to a wide range of key texts that identify, explore, illuminate and interrogate the challenges, practices and processes involved in training the modern actor

Book. English.
Published London: Routledge, 2015

Available at Newman.

This item is not reservable because:

  • There are no reservable copies for this title. Please contact a member of library staff for further information.
  • Newman – One available in 792.028/ACT

    Barcode Shelfmark Loan type Status
    01664379 792.028/ACT Standard Loan Available

Details

Statement of responsibility: edited by Mark Evans
ISBN: 0415824028, 9780415824026
Intended audience: Specialized.
Note: Includes bibliographical references.
Physical Description: 262 pages
Subject: Performing Arts.; Acting.

Contents

  1. Introduction
  2. Mark Evans, Coventry University, UK.
  3. Prologue
  4. Jacques Copeau: Rudlin, J. & Paul, N. (eds.) (1990) Copeau: Texts on Theatre
  5. Konstantin Stanislavsky: Stanislavski, C. (1980) My Life in Art
  6. Purpose
  7. The Purpose of Actor Training
  8. Ian Watson, Rutgers University, USA.
  9. Extracts
  10. Mike Alfreds: Alfreds, M. (2007) Different Every Night: Freeing the Actor
  11. Eugenio Barba: Barba, E. (1979) The Floating Islands
  12. Augusto Boal: Boal, A. (1995) The Rainbow of Desire: The Boal method of theatre and therapy
  13. Michael Chekhov: Chekhov, M. (1985) Lessons for the Professional Actor
  14. Edward Gordon Craig: Craig, E. G. (1983) Craig On Theatre
  15. Jerzy Grotowski: Grotowski, J. (1997) 'Performer', in Schechner, R. & Wolford, L. (eds.) (1997) The Grotowski Sourcebook
  16. Jacques Lecoq: Lecoq, J. (2000) The Moving Body: Teaching creative theatre
  17. Yoshi Oida: Oida, Y. & Marshall, L. (1997) The Invisible Actor
  18. Konstantin Stanislavsky: Stanislavski, K. (2008) An Actor's Work
  19. Technique
  20. Training the Actor's Voice and Body
  21. Jonathan Pitches, University of Leeds, UK.
  22. Extracts
  23. Antonin Artaud: Artaud, A. (1970) The Theatre and its Double
  24. Eugenio Barba: Barba, B. (1986) Beyond the Floating Islands
  25. Augusto Boal: Boal, A. (2002) Games for Actors and Non-Actors
  26. Moshe Feldenkrais: Feldenkrais, M. & Schechner, R. (1966) 'Image, Movement, and Actor: Restoration of Potentiality - A discussion of the Feldenkrais Method and Acting, Self-Expression and the Theater'
  27. Dario Fo and Franca Rame:Fo, D. & Rame, F. (1983) Theatre Workshops at the Riverside Studios
  28. Jerzy Grotowski: Grotowski, J. (1969) Towards a Poor Theatre
  29. Rudolf Laban: McCaw, D. (ed.) The Laban Sourcebook
  30. Jacques Lecoq: Lecoq, J. (2006) Theatre of movement and gesture
  31. Kristin Linklater: Linklater, K. (1976) Freeing the Natural Voice
  32. Vsevolod Meyerhold: Bruan, E. (1969) Meyerhold on Theatre
  33. Michel Saint-Denis: Saint-Denis, M. (1982) Training for the Theatre
  34. Tadashi Suzuki: Suzuki, T. (1986) The Way of Acting: The theatre writings of Tadashi Suzuki
  35. Yevgeny Vakhtangov: Malaev-Babel, A. (ed.) (2011) The Vakhtangov Sourcebook
  36. Phillip Zarrilli: Zarrilli, P. (2009) Psychophysical Acting: An Intercultural approach after Stanislavski
  37. Character and Composition
  38. The Self and the Fictive Other in Creation, Rehearsal and Performance
  39. Bella Merlin, University of California, Riverside, USA.
  40. Extracts
  41. Stella Adler: Adler, S. The Art of Acting (2000)
  42. Eugenio Barba: Barba, E. (2010) On Directing and Dramaturgy: Burning the House
  43. Anne Bogart and Tina Landau: Bogart, A. & Landau, T. (2005) The Viewpoints Book
  44. Bertolt Brecht: Willett, J. (ed.) (1978) Brecht on Theatre: The Development of an Aesthetic
  45. Michael Chekhov: Chekhov, M. (2002) To The Actor
  46. Dario Fo: Fo, D. (1991) The Tricks of the Trade
  47. Jacques Lecoq: Lecoq, J. (2000) The Moving Body
  48. Sanford Meisner: Meisner, S. & Longwell, D. (1987) Sanford Meisner on Acting
  49. Odin: Christoffersen, E. E. (1993) The Actor's Way
  50. Open Theatre: Pasolli, R. (1972) A book on the Open Theatre
  51. Konstantion Stanislavsky: Stanislavski, K. (2008) An Actor's Work
  52. Presence
  53. Presence, Physicality, Play and Communion
  54. Dick McCaw, Royal Holloway University, UK.
  55. Extracts
  56. Peter Brook: Brook, P. (1993) There Are No Secrets: Thoughts on Acting and Theatre
  57. Joseph Chaikin: Chaikin, J. (1991) The Presence of the Actor
  58. Jacques Copeau: Rudlin, J. & Paul, N. (eds.) (1990) Copeau: Texts on Theatre
  59. Philippe Gaulier: Gaulier, P. (2006) The Tormentor: le jeu, light, theatre
  60. Keith Johnstone: Johnstone, K. (1981) Impro: Improvisation and the Theatre
  61. Jacques Lecoq: Lecoq, J. (2006) Theatre of Movement and Gesture
  62. Joan Littlewood: 'Working with Joan: Theatre Workshop actors talking to Tom Milne and Clive Goodwin'
  63. Ariane Mnouchkine: extracts from: Féral, J., Mnouchkine, A. & Husemoller, A. (1989) 'Building up the Muscle: An Interview with Ariane Mnouchkine'
  64. Wlodzimierz Staniewski: Staniewski, W. with Hodge, A. (2004) Hidden Territories: the theatre of gardzienice
  65. Ruth Zaporah: Zaporah, R. (1995) Action Theater: The improvisation of presence
  66. Epilogue
  67. Yoshi Oida: Oida, Y. & Marshall, L. (1997) The Invisible Actor
  68. Afterword
  69. Mark Evans, Coventry University, UK

Author note

Mark Evans is Professor of Theatre Training and Associate Dean at Coventry University. He researches actor training and theatre education. He has published books on movement training for actors and on the work of Jacques Copeau, written several articles on theatre training, and is an Associate Editor for the Theatre, Dance and Performance Training journal published by Routledge.

Reviews

'There's plenty here for any serious student needing to get to grips with the theory and would make an excellent accessible starting point for anyone hungry for information but as yet not quite ready for any single practitioner's complete oeuvre.'- Susan Elkin, The Stage