THEA 002, 022, 042, 052, 062: Acting, Movement Workshop, and Production Ensemble (SC)

1936, by Constantin Stanislavski; English translation by Elizabeth Reynolds Hapgood; "Stanislavski's simple exercises fire the imagination, and help readers not only discover their own conception of reality but how to reproduce it as well."

1949, by Constantin Stanislavski; English translation by Elizabeth Reynolds Hapgood. 1. Toward a Physical Characterization; 2. Dressing a Character; 3. Characters and Types; 4. Making the Body Expressive; 5. Plasticity of Motion; 6. Restraint and Control; 7. Diction and Singing; 8. Intonations and Pauses; 9. Accentuation: The Expressive Word; 10. Perspective in Character Building; 11. Tempo-Rhythm in Movement; 12. Speech Tempo-Rhythm; 13. Stage Charm; 14. Toward an Ethics for the Theatre; 15. Patterns of Accomplishment; 16. Some Conclusions on Acting.

1963, by Constantin Stanislavski; English translation by Elizabeth Reynolds Hapgood. "This is the classic lexicon of Stanislavski's most important concepts, all in the master's own words. Upon its publication in 1963, An Actor's Handbook quickly established itself as an essential guide for actors and directors."

2007, by Michael Lugering. "The study of acting should not begin with an exploration of feeling, perception, imagination, memories, intention, personalization, self-identification... or even performance--but physical action." Michael Lugering's The Expressive Actor presents a foundational, preparatory training method, using movement to unlock the entire acting process. Its action-based perspective integrates voice, movement and basic acting training into a unified approach. A wealth of exercises and diagrams guide the reader through this internationally taught program, making it an ideal step-by-step course for both solo and classroom use. Through this course, voice and body training becomes more than a simple skill-building activity - it is the central prerequisite to any actor training. This new Routledge edition has been fully updated, to include: A revised prologue, further discussing the historical and philosophical grounding of The Lugering Method A new introduction, with particular focus on the integrative nature of the method and how the book should be used. New developments, clarifications, and 12 new exercises. 6 new illustrative diagrams."

2010, by Maura Vaughn. "How does an actor bring a script to life? The actor must know how to read a script, break it down, and mine all of its clues in order to make the most effective choices. The Anatomy of a Choice: An Actor's Guide to Text Analysis offers the actor a concrete method for approaching a script. This guide details a simple process to discover and define a character's scene and super-objective, obstacle, beats, and tactics. It includes practical information on how to build a character how best to use rehearsal time, and what to do when nothing is working."

2006, by Robert Gordon. "The Purpose of Playing is the first book to analyze and synthesize modern critical acting theories, their historical evolution, and their relationship to one another, enabling students, teachers, and professionals to comprehend the different aesthetic possibilities available to actors today. Robert Gordon identifies six categories of twentieth-century acting, each of which constitutes a different tradition of performance: realistic characterization, visual/ scenographic emphasis, improvisation and games, political theater, self-exploration, and cultural exchange. Theorists discussed include: Stanislavski, Chekhov, Meyerhold, Copeau, Laban, Brecht, Artaud, Grotowski, and Michael Brook, among others."

2017 "Michael Chekhov's classic work To the Actor has been revised and expanded by Mala Powers to explain, clearly and concisely, the essential techniques for every actor from developing a character to strengthen awareness. Chekhov's simple and practical method - successfully used by professional actors all over the world - trains the actor's imagination and body to fulfill its potential. To the Actor includes a previously unpublished chapter on 'Psychological Gesture', translated into English by the celebrated director Andrei Malaev - Babel; a new biographical overview by Mala Powers; and a foreword by Simon Callow. This book is a vital text for actors and directors including acting and theatre history students."

2002, edited by Phillip B. Zarrilli. "Acting (Re)Considered is an exceptionally wide-ranging collection of theories on acting, ideas about body and training, and statements about the actor in performance. This second edition includes five new essays and has been fully revised and updated, with discussions by or about major figures who have shaped theories and practices of acting and performance from the late nineteenth century to the present. The essays - by directors, historians, actor trainers and actors - bridge the gap between theories and practices of acting, and between East and West. No other book provides such a wealth of primary and secondary sources, bibliographic material, and diversity of approaches. It includes discussions of such key topics as: * how we think and talk about acting * acting and emotion * the actor's psychophysical process * the body and training * the actor in performance * non-Western and cross-cultural paradigms of the body, training and acting. Acting (Re)Considered is vital reading for all those interested in performance."

2000,by Patsy Rodenberg. "In The Actor Speaks, Patsy Rodenburg takes actors and actresses, both professional and beginners, through a complete voice workshop. She touches on every aspect of performance work that involves the voice and sorts through the kinds of vexing problems every performer faces onstage: breath and relaxation; vocal range and power; communication with other actors; singing and acting simultaneously; working on different sized stages and in both large and small auditoriums; approaching the vocal demands of different kinds of scripts. This is the final word on the actor's voice and it's destined to become the classic work on the subject for some time to come."

1998, by Paul Kuritz. "Aimed at the beginning acting student, this book takes a commonsense approach to the craft, building on basic techniques in the first part and then going on to cover two distinct types of theater; comedy and Shakespearean verse. Kuritz introduces basic acting techniques through a series of simple exercises. the section on verse analyzes accent and rhythm with examples of dialog, while the comedy chapter lists 15 examples of comic situations, along with definitions and examples of comic figures of speech. Warm-up exercises, comic dialect guidelines, and a general stage terminology contribute to the usefulness of the book."

1993, by Doug Moston. " This book defines the terminology used to teach and direct actors. It is a discussion of acting terms as they are used in classes, workshops and productions by teachers, coaches and directors. It will help eliminate the confusion so often encountered by new actors and professionals, both in class and production. While there may not be an all-encompassing definition for each term, you will get an overview of how the term is used and applied in today's theatre."

1986, by Joseoph Roach. "This reinterpretation of acting theories in light of the history of science examines acting styles from the seventeenth century to the twentieth century and measures them against prevailing conceptions of the human body and its inner workings."

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