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The Philosophical Actor: A Practical Meditation for Practicing Theatre Artists - Donna Soto-Morettini

Intellect Ltd | 2010-08-01 | ISBN-10: 1841503266,1841503908 | 224 pages | PDF | 1.2 MB

There have been many books published on acting, actor training, and practical theories for preparing for a role, but none of these books have ever looked philosophically at the language and the concepts that we use when we talk about acting. The Philosophical Actor is the first attempt to grapple with the fundamental questions of truth, art, and human nature unexamined in past treatments, from the first great essay by Diderot to the exhaustive system described by Stanislavski. With wide appeal to actors, directors, acting students, acting teachers and trainers, Donna Soto-Morettini draws from twenty-five years of experience as an acting teacher and director to introduce innovative ways of thinking about acting.


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Respect for Acting - Uta Hagen


Wiley | 2008-07-08 | ISBN: 0470228482 | PDF | 240 pages | 5.16 MB

Respect for Acting by actress and teacher Uta Hagen is a textbook used in many acting classes. Hagen's instructions and examples guide the aspiring actor through practical problems such as "How do I talk to the audience?" and "How do I stay fresh in a long run?" She advocates the actor's use of substitution in informing and shaping the action of the character the actor is playing.


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Theatricality as Medium - Samuel Weber

Fordham University Press | 2004-10-01 | 0823224163 | PDF | 428 pages | 10.92 MB

Ever since Aristotle's Poetics, both the theory and the practice of theater have been governed by the assumption that it is a form of representation dominated by what Aristotle calls the "mythos," or the "plot." This conception of theater has subordinated characteristics related to the theatrical medium, such as the process and place of staging, to the demands of a unified narrative. This readable, thought-provoking, and multidisciplinary study explores theatrical writings that question this aesthetical-generic conception and seek instead to work with the medium of theatricality itself.

Beginning with Plato, Samuel Weber tracks the uneasy relationships among theater, ethics, and philosophy through Aristotle, the major Greek tragedians, Shakespeare, Kierkegaard, Kafka, Freud, Benjamin, Artaud, and many others who develop alternatives to dominant narrative-aesthetic assumptions about the theatrical medium. His readings also interrogate the relation of theatricality to the introduction of electronic media. The result is to show that, far from breaking with the characteristics of live staged performance, the new media intensify ambivalences about place and identity already at work in theater since the Greeks.

Praise for Samuel Weber: “What kind of questioning is primarily after something other than an answer that can be measured ... in cognitive terms? Those interested in the links between modern philosophy nd media culture will be impressed by the unusual intellectual clarity and depth with which Weber formulates the ... questions that constiture the true challenge to cultural studies today. ...one of our most important cultural critics and thinkers.”

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Directors and the New Musical Drama: British and American Musical Theatre in the 1980s and 90s (Palgrave Studies in Theatre and Performance History) - Miranda Lundskaer-Nielsen

Palgrave Macmillan | 2008) | ISBN 0230601294 | 244 pages | PDF | 1.07 MB

Directors and the New Musical Drama offers a fresh perspective on the dramatic shifts in musical theatre in the 1980s and 90s. Miranda Lundskaer-Nielsen explores the cultural differences between British and American musicals, examines their critical reception, and demonstrates the crucial role of British and American directors in developing musical dramas that have initiated change in the parameters of this popular art form.

Samuel Beckett and the Philosophical Image - Anthony Uhlmann

Cambridge University Press | 2007 | ISBN: 0521865204 | Pages: 198 | PDF | 1.25 MB

Beckett often made use of images from the visual arts and readapted them, staging them in his plays, or using them in his fiction. Anthony Uhlmann sets out to explain how an image differs from other terms, like 'metaphor' or 'representation', and, in the process, to analyse Beckett's use of images borrowed from philosophy and aesthetics.

Theater of the Avant-Garde, 1890-1950: A Critical Anthology

Yale University Press | ISBN: 0300085265 | 2001 | PDF | 546 pages | 7 Mb


This critical anthology of avant-garde drama offers comprehensive coverage of that distinctively twentieth-century tradition. It includes the full texts of sixteen important plays, each preceded by a historical-critical introduction and followed by an essay, often written by the playwright, that elaborates on the dramatic and aesthetic issues raised by the play. Cardullo and Knopf, in making plays and documents of the avant-garde available in one collection for the first time, underscore the place and importance of the movement.

The Art of Theater - James R. Hamilton

Wiley-Blackwell | 2007 | ISBN: 1405113537 | Pages: 248 | PDF | 5.14 MB

James R. Hamilton writes that his book, The Art of Theater, has but one concern: to explain and defend the claim that theatrical performance is "a form of art in its own right, independent of literature" (15). This claim, he adds, has always been true; theatrical performances have never been mere presentations of texts. Its truth has only recently been discovered, however, as the history of theater long hid it from our view.

What is unique and essential about theater? What separates it from other arts? Do we need "theater" in some fundamental way? The art of theater, as Paul Woodruff says in this elegant and unique book, is as necessary--and as powerful--as language itself. Defining theater broadly, including sporting events and social rituals, he treats traditional theater as only one possibility in an art that--at its most powerful--can change lives and (as some peoples believe) bring a divine presence to earth.

Bertolt Brecht's Dramatic Theory - John J. White

Camden House | 2004-11 | ISBN: 1571130764 | 360 pages | PDF | 1,4 MB

In concert with his work as a politically-charged playwright and dramaturge, Bertolt Brecht concerned himself extensively with the theory of drama. He was convinced that the Aristotelian ideal of audience catharsis through identification with a hero and the resultant experience of terror and pity worked against his goal of bettering society. He did not want his audiences to feel, but to think, and his main theoretical thrusts -- Verfremdungseffekte (de-familiarization effects) and epic theater, among others -- were conceived in pursuit of this goal. This is the first detailed study in English of Brecht's writings on the theater to take account of works first made available in the recent German edition of his collected works.

Actor Training - Alison Hodge

Routledge | 2010 | ISBN: 0415471672, 0415471680 | 368 pages


Actor Training expands on Alison Hodge’s highly-acclaimed and best-selling Twentieth Century Actor Training. This exciting second edition radically updates the original book making it even more valuable for any student of the history and practice of actor training. The bibliography is brought right up to date and many chapters are revised. In addition, eight more practitioners are included-and forty more photographs-to create a stunningly comprehensive study.