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Bayly S: Acting Realism

Acting Realism

Theory and Practice from Garrick to Meisner and Beyond

What goes on in the body and mind of an endurance athlete at the limits of performance? How do they relate to the world around and prepare for the task ahead? Offering a refreshing perspective on training in the cross-lighting of aesthetic and athletic processes, this book focuses on the learning, mastery and creative adaptation of technique in performance. From traditional and physical actors to runners, boxers and other sports practitioners, it is about performers: their bodies, trainings and experiences. It interrogates what it means to prepare and train as a performer in the early 21st century. Writing from extensive experience in physical theatre and long-distance running, the author combines insights from both disciplines along with theatre history, sports science and perspectives like embodied cognition and affective science. From the kind of thoughts that go through the mind of an actor or a runner, to the economy and aesthetic of their movement and to how they feel about it, this book sheds light on the performing body and its capacities for action. Topics covered include attentional focus and distraction, affordances and equipment, 'choking' and stage fright, physiological regulation and effort perception, pacing and play, optimal flow and creative improvisation, and intentionality and automaticity in expert performance. The volume presents an informative and thought-provoking account accessible to readers interested in theatre, dance, performance, running, athletics, and sport.

Performer Training for Actors and Athletes

A spare, heartbreaking memoir and tribute to Maria Schneider, the 1970s movie starlet who catapulted to fame in the controversial film Last Tango in Paris-only to live the rest of her life plagued by scandal-as told from the perspective of her adoring younger cousin.

A spare, heartbreaking memoir and tribute to Maria Schneider, the 1970s movie starlet who catapulted to fame in the controversial film Last Tango in Paris-only to live the rest of her life plagued by scandal-as told from the perspective of her adoring younger cousin.

My Cousin Maria Schneider

Theatre Makers

"This first and now largely forgotten work was handwritten in German and in it Michael Chekhov lays the groundwork for the canon of exercises and practices that, a century later, actors generally know as the Michael Chekhov Technique. Although never completed, the text affords a rare fly-on-the-wall insight into the raw material of Chekhov's vision. This extensively revised and abridged text is presented with an introduction and a series of contemporary short essays, which offer practical suggestions to have come out of exploring Michael Chekhov Technique in the studio"--

In the early 1930s, during his first years of exile and 20 years before the publication of his seminal work To the Actor, Michael Chekhov made his first incursion into the challenging task of writing about an actor’s experience and his vision of the craft. 
 
 This important, though largely forgotten, work (the so-called ‘Paris Manuscript’) was handwritten in German and in it we find Chekhov laying the groundwork for the canon of exercises and practices that, nearly a century later, has widely become known as the Michael Chekhov Technique. Although never completed, the manuscript affords a privileged fly-on-the-wall glimpse of the dawning of an artistic genius’s creative vision.
 
This manuscript was the result of Chekhov’s rich collaboration with Swiss theatre director, painter and illustrator Georgette Boner, and the text itself is supplemented with facsimile scans of manuscript pages, photographs, correspondence and other material from Boner’s personal archive.

As the popularity of the Michael Chekhov Technique continues to spread globally, the ‘Paris Manuscript’ offers a timely invitation for actors to take a step back and (re)discover for themselves the structural foundations of Michael Chekhov's vision.
 
Chekhov’s text has been translated, edited and abridged by Hugo Moss, co-founder and director of Michael Chekhov Brasil, who has written an introduction and a series of short essays, ‘Reflections From the Studio’, which build on a few key elements emerging from the manuscript and over a decade of exploring Chekhov's artistic legacy in the studio environment and in performance.

The Early Draft Rediscovered

The Paris Manuscript

Routledge Advances in Theatre & Performance Studies

This book examines the performance strategies used by contemporary Iranian artists and activists to reimagine "Iranian-ness" in the context of Iran's local, regional, and global position.

Contemporary Theatre, Art, and Music of Iran

At the Threshold

Routledge Revivals

In All Together Now (first published in 1984), Steve Gooch, himself a playwright with extensive experience of 'community theatre', looks at the relationship of the theatre to the community in which it takes place.

In All Together Now (first published in 1984), Steve Gooch, himself a playwright with extensive experience of ‘community theatre’, looks at the relationship of the theatre to the community in which it takes place.

An Alternative View of Theatre and the Community

All Together Now

Focus on Dramaturgy

In this book, Michael Evans discusses what he calls standard dramaturgy a set of seven principles upon which most plays, from ancient Greek dramas to modern works, are based.

In this book, Michael Evans discusses what he calls standard dramaturgy a set of seven principles upon which most plays, from ancient Greek dramas to modern works, are based.

Dramaturgy and Anatomy of Dramatic Structures

This comprehensive text traces a cultural history of acting practice in Aotearoa / New Zealand, whose Indigenous M¿ori practitioners have made a significant impact on acting processes, principles and values in this post-colonial nation.

This comprehensive text traces a cultural history of acting practice in Aotearoa / New Zealand, whose Indigenous Maori practitioners have made a significant impact on acting processes, principles and values in this post-colonial nation.

Acting in Aotearoa

The long-awaited, bracingly candid, and utterly unpredictable personal story of movie legend Donald Sutherland, sharing his deep passion for acting, his intense journey through success and loss, and every wild story in between As one of the most enduring actors in Hollywood, Donald Sutherland has made an indelible mark on the industry since his life-changing role in M*A*S*H catapulted him into the public eye nearly sixty years ago. With his raw honesty and wicked sense of humour, the renowned actor chronicles his life in this generation-defining book, cataloging with powerful detail his far too many brushes with death, his loving relationship with his parents, and behind-the-scenes stories of the movies he's starred in, including M*A*S*H, Klute, Kelly's Heroes, Don't Look Now, Ordinary People, JFK, The Eye Of the Needle, Fellini's Casanova, 1900, The Hunger Games, and more. In Made Up, But Still True, Sutherland offers an unfiltered account of his memories of his life that is deeply insightful, emotional, and often very funny. In 1937 he was treated for infantile paralysis, followed a couple of years later by a bacterial infection that required a hammer and chisel to clean up his mastoiditis. Later in life, a rheumatic fever could have killed him, and after that, a bout with spinal meningitis did kill him, but only for a few seconds, then left him in a coma that took him a good while to come out of. As a 16-year-old he experienced his first sexual relationship, his first love, his first lessons in love. She was twice his age and they had a wonderful time. He also reveals the onstage triumphs that began his career; the pitfalls that threatened it and the movies that burnished it; and the on and off-set hijinks that gave it all colour. With surprising candor and powerful, lyrical prose, these unforgettable reminiscences offer an unprecedented look at the remarkable life of a legendary-and legendarily private-Hollywood icon.

The long-awaited, bracingly candid, and utterly unpredictable personal story of movie legend Donald Sutherland, sharing his deep passion for acting, his intense journey through success and loss, and every wild story in between As one of the most enduring actors in Hollywood, Donald Sutherland has made an indelible mark on the industry since his life-changing role in M*A*S*H catapulted him into the public eye nearly sixty years ago. With his raw honesty and wicked sense of humour, the renowned actor chronicles his life in this generation-defining book, cataloging with powerful detail his far too many brushes with death, his loving relationship with his parents, and behind-the-scenes stories of the movies he’s starred in, including M*A*S*H, Klute, Kelly’s Heroes, Don't Look Now, Ordinary People, JFK, The Eye Of the Needle, Fellini’s Casanova, 1900, The Hunger Games, and more. In Made Up, But Still True, Sutherland offers an unfiltered account of his memories of his life that is deeply insightful, emotional, and often very funny. In 1937 he was treated for infantile paralysis, followed a couple of years later by a bacterial infection that required a hammer and chisel to clean up his mastoiditis. Later in life, a rheumatic fever could have killed him, and after that, a bout with spinal meningitis did kill him, but only for a few seconds, then left him in a coma that took him a good while to come out of. As a 16-year-old he experienced his first sexual relationship, his first love, his first lessons in love. She was twice his age and they had a wonderful time. He also reveals the onstage triumphs that began his career; the pitfalls that threatened it and the movies that burnished it; and the on and off-set hijinks that gave it all colour. With surprising candor and powerful, lyrical prose, these unforgettable reminiscences offer an unprecedented look at the remarkable life of a legendary—and legendarily private—Hollywood icon.

Made Up, But Still True

Yiddish Voices

This book provides the first ever English translation of the Yiddish play, Mississippi. Penned in 1935 by Leyb Malakh, it was commissioned for production by a Warsaw-based experimental Yiddish theatre company and was focused on the racial injustice of the Scottsboro Boys case which began with the wrongful arrest of nine African-American youths in Alabama, 1931. The book includes a detailed, multifaceted scholarly introduction which ranges widely and effectively across the various historical and literary contexts in which the play can be appreciated.

As our volume shows, both the writer and the director, Michal Weichert, were keen to depict a dramatic episode from contemporary life that reflected the leftist goals and ideas to which they were devoted. Alyssa Quint examines the fact that while the plight of the Scottsboro Boys lasted throughout the 1930s and inspired works of Communist or leftist struggle by a substantial number of artists and writers in the United States, few beyond America took on the subject. She looks at how Malakh's drama reflects the influence of the African American writer Langston Hughes, who wrote Scottsboro Limited in 1931 after the Boys' first trial when they were sentenced to death. Writing in 1935, after a number of successful appeals, Malakh refers to the rallies that took place throughout Europe in protest of the Boys' arrest and sentencing. The introduction also shows how the play reflects the influence of 'synchronous theater' (akin to immersive theater) as well as other avant-garde theatrical strategies of the time. Quint goes on to consider the substantial success of Mississippi, which played on city stages at least one hundred times throughout Poland and attracted significant critical attention, and what this can tell us about the connection between the Jewish people of Europe and African-Americans around this time.

This book provides the first ever English translation of the Yiddish play, Mississippi. Penned in 1935 by Leyb Malakh, it was commissioned for production by a Warsaw-based experimental Yiddish theatre company and was focused on the racial injustice of the Scottsboro Boys case which began with the wrongful arrest of nine African-American youths in Alabama, 1931. The book includes a detailed, multifaceted scholarly introduction which ranges widely and effectively across the various historical and literary contexts in which the play can be appreciated.

As our volume shows, both the writer and the director, Michal Weichert, were keen to depict a dramatic episode from contemporary life that reflected the leftist goals and ideas to which they were devoted. Alyssa Quint examines the fact that while the plight of the Scottsboro Boys lasted throughout the 1930s and inspired works of Communist or leftist struggle by a substantial number of artists and writers in the United States, few beyond America took on the subject. She looks at how Malakh’s drama reflects the influence of the African American writer Langston Hughes, who wrote Scottsboro Limited in 1931 after the Boys’ first trial when they were sentenced to death. Writing in 1935, after a number of successful appeals, Malakh refers to the rallies that took place throughout Europe in protest of the Boys’ arrest and sentencing. The introduction also shows how the play reflects the influence of ‘synchronous theater’ (akin to immersive theater) as well as other avant-garde theatrical strategies of the time. Quint goes on to consider the substantial success of Mississippi, which played on city stages at least one hundred times throughout Poland and attracted significant critical attention, and what this can tell us about the connection between the Jewish people of Europe and African-Americans around this time.

A Yiddish Play about the Scottsboro Boys

Mississippi (1935) By Leyb Malakh

NT Live and the Aesthetics of Spectacle, Materiality and Engagement

Livecasting in Twenty-First-Century British Theatre

A collection of deeply personal conversations from award-winning actress and activist Laura Dern and the woman she admires most, her mother-legendary actress Diane Ladd-that take readers on an intimate tour of their lives, sharing their most honest conversations on love, life, success, and everything in between.

LAURA DERN AND HER MOTHER DIANE LADD TALK LIFE, DEATH, LOVE (AND BANANA PUDDING)

Honey, Baby, Mine

Stanislavsky And...

Stanislavsky and Gender explores the intimate and complicated relationship between the enduring influence of Konstantin Stanislavsky and the evolving phenomenon of gender. It provides new insights through historical research, unpublished and newly translated materials, and contemporary insights from diverse scholars and practitioners.

Stanislavsky and Gender explores the intimate and complicated relationship between the enduring influence of Konstantin Stanislavsky and the evolving phenomenon of gender. It provides new insights through historical research, unpublished and newly translated materials, and contemporary insights from diverse scholars and practitioners.

Stanislavsky and Gender

Acting Realism

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