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Secrets of Acting Shakespeare isn't a book that gently instructs. It's a passionate, yes-you-can designed to prove that anybody can act Shakespeare. By explaining how Elizabethan actors had only their own lines and not entire playscripts, Patrick Tucker shows how much these plays work by ear. Secrets of Acting Shakespeare is a book for actors trained and amateur, as well as for anyone curious about how the Elizabethan theater worked.
Secrets of Screen Acting, Fourth Edition, is a step-by-step guide to the elements of successful screen acting. When it was first published in 1993, Secrets of Screen Acting broke new ground in explaining how acting for the camera is different from acting on stage. Reaction time is altered, physical timing and placement are reconceived, and the proportions of the digital frame itself become the measure of all things, so the director must conceptualize each image in terms of this new rectangle and actors must 'fit' into the frame. Based on a revolutionary non-Method approach to acting, this book shows what actually works: how an actor, an announcer, or anyone working in front of the cameras can maximise the effectiveness of their performances on screen. This fourth edition is completely updated to cover new techniques, film references, and insights, including: Updated information on vocal work outside acting, such as audiobooks and voice-overs Guidance on the technique of "whisper acting" New information about working with video games, Facebook, TikTok, Twitter, and other non-traditional forms of screen work Updated guidance on self-taping auditions Coverage of working with CGI and invisible acting partners on green screen Information on typecasting and stereotyping A quick history of theatre and film in 10 pictures A new emphasis on illustrations depicting acting techniques Information on and best practices for presenting oneself to the industry Many new illustrations, all specifically drawn for this edition This book is perfectly suited for Acting for the Screen university courses, actors training on their own, and actors involved in all forms of screen work, including Zoom, Skype, Vox Pops, and more.
In his 2001 book Secrets of Acting Shakespeare Patrick Tucker outlines a methodology he claims is based on that of actors in Shakespeare's time, where no collective rehearsals are held, and an actor is not allowed access to any of the script beyond their own lines. While Tucker's method has found a following in the world of professional theatre, his practices as a historian are questionable, and his sources limited. Furthermore, the question of seventeenth-century rehearsal practices is addressed in Tiffany Stern's 2000 book Rehearsal from Shakespeare to Sheridan, where she provides empirical evidence that actors did rehearse in the seventeenth century. This project seeks to explore the process by which Tucker arrives at his conclusion, the implications that Stern's research has on his project, and to understand why and how Tucker has had a lasting influence despite the fact that his signature claim is in doubt.
Acting from Shakespeare's First Folio examines a series of techniques for reading and performing Shakespeare's plays that are based on the texts of the first ‘complete’ volume of Shakespeare's works: the First Folio of 1623. Do extra syllables in a line suggest how it might be played? Can Folio commas reveal character? Don Weingust places this work on Folio performance possibility within current understandings about Shakespearean text, describing ways in which these challenging theories about acting often align quite nicely with the work of the theories' critics. As part of this study, Weingust looks at the work of Patrick Tucker and his London-based Original Shakespeare Company, who have sought to discover the opportunities in using First Folio texts, acting techniques, and what they consider to be original Shakespearean performance methodologies. Weingust argues that their experimental performances at the Globe on Bankside have revealed enhanced possibilities not only for performing Shakespeare, but for theatrical practice in general.
Playing Shakespeare is the premier guide to understanding and appreciating the mastery of the world’s greatest playwright. Together with Royal Shakespeare Company actors–among them Patrick Stewart, Judi Dench, Ian McKellen, Ben Kingsley, and David Suchet–John Barton demonstrates how to adapt Elizabethan theater for the modern stage. The director begins by explicating Shakespeare’s verse and prose, speeches and soliloquies, and naturalistic and heightened language to discover the essence of his characters. In the second section, Barton and the actors explore nuance in Shakespearean theater, from evoking irony and ambiguity and striking the delicate balance of passion and profound intellectual thought, to finding new approaches to playing Shakespeare’s most controversial creation, Shylock, from The Merchant of Venice. A practical and essential guide, Playing Shakespeare will stand for years as the authoritative favorite among actors, scholars, teachers, and students.
“Much like Donna Tartt’s The Secret History, M. L. Rio’s sparkling debut is a richly layered story of love, friendship, and obsession...will keep you riveted through its final, electrifying moments.” —Cynthia D’Aprix Sweeney, New York Times bestselling author of The Nest "Nerdily (and winningly) in love with Shakespeare...Readable, smart.” —New York Times Book Review On the day Oliver Marks is released from jail, the man who put him there is waiting at the door. Detective Colborne wants to know the truth, and after ten years, Oliver is finally ready to tell it. A decade ago: Oliver is one of seven young Shakespearean actors at Dellecher Classical Conservatory, a place of keen ambition and fierce competition. In this secluded world of firelight and leather-bound books, Oliver and his friends play the same roles onstage and off: hero, villain, tyrant, temptress, ingénue, extras. But in their fourth and final year, good-natured rivalries turn ugly, and on opening night real violence invades the students’ world of make-believe. In the morning, the fourth-years find themselves facing their very own tragedy, and their greatest acting challenge yet: convincing the police, each other, and themselves that they are innocent. If We Were Villains was named one of Bustle's Best Thriller Novels of the Year, and Mystery Scene says, "A well-written and gripping ode to the stage...A fascinating, unorthodox take on rivalry, friendship, and truth."
"A workhorse of a workbook!"—Library Journal. American actors, fear Shakespeare no more! Through a series of inspiring, easy-to-follow exercises, an acclaimed director and drama coach shows both students and experienced actors how to break down the verse, support the words, understand the images, and use the text to create vibrant, living performances. This popular guide—more than TK,000 copies sold—has been revised and expanded to include the unique challenges facing teachers and their students in performing Shakespeare’s works, as well as time-tested tools for overcoming these obstacles. Effective delivery, correct breathing, scansion, phrasing, structure and rhythm, caesura, and more are covered. For text analysis and character interpretation, both classical British training and American methods are explored. In addition to ongoing, long-term practice exercises, Clues to Acting Shakespeare offers a one-day brush-up section to prep actors cast to play Shakespearean roles immediately. • Long term practice exercises and quick one-day brush-ups for auditions Allworth Press, an imprint of Skyhorse Publishing, publishes a broad range of books on the visual and performing arts, with emphasis on the business of art. Our titles cover subjects such as graphic design, theater, branding, fine art, photography, interior design, writing, acting, film, how to start careers, business and legal forms, business practices, and more. While we don't aspire to publish a New York Times bestseller or a national bestseller, we are deeply committed to quality books that help creative professionals succeed and thrive. We often publish in areas overlooked by other publishers and welcome the author whose expertise can help our audience of readers.
Peter Brook was the most consistently innovative director in Western theatre. In these three essays he returns to the concept of his first book The Empty Space and examines what that means for the life of a production. How can a company establish its own "empty space" - a rehearsal and performance environment which will encourage the actors to abandon the security of the hackneyed and release their true creativity? The potency of Brook's writing lies in his ability invest general truths with fresh vigour and to be as simple as he is profound.
How did the actors for whom Shakespeare wrote his plays make his characters come to life, how did they convey his words? Can modern directors, actors, and even library readers of Shakespeare learn from them? Creating character and making the Elizabethan playwright’s poetry compelling for the audience is a problem which has seldom been resolved in modern times. This book demonstrates the hard course a modern actor must follow to make real and truthful the words he speaks, and the action and emotion underlying them. With examples and simple exercises, this book helps with the preparation for the great task – providing the actor with a combination that unlocks the Bard's English. Starting with how theatrical speech was understood in Renaissance England, it looks at figures of speech, the powers of persuasion, and the passion and rhythm inherent in the language.