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Jacqui Hall Cuny: Find Your 'It' Factor

Find Your 'It' Factor

A Guide to Dynamic Musical Theatre Performance

Drama Games

A dip-in, flick-through, quick-fire resource book, part of the bestselling Drama Games series, offering 80 games and exercises to explore the fundamental concepts of clowning and physical comedy, encourage playfulness, curiosity and collaboration, and help develop performance material.

A dip-in, flick-through, quick-fire resource book, part of the bestselling Drama Games series, offering 80 games and exercises to explore the fundamental concepts of clowning and physical comedy, encourage playfulness, curiosity and collaboration, and help develop performance material.

Drama Games for Clowning and Physical Comedy

The Politics of Form in Contemporary British Performance

Proper Theatre

"An examination of the actor, and the non-actor, in post-war Italian cinema-a crucial moment for the Italian film industry-when cinema became an important vector of national identity and of individual identification with figures on the big screen"--

Provides the first critical overview of acting, stardom, and performance in post-war Italian film (1945-54), with special attention to the figure of the non-professional actor, who looms large in neorealist filmmaking. 

Italian post-war cinema has been widely celebrated by critics and scholars: films such as Bicycle Thieves (De Sica, 1948) and Paisan (Rossellini, 1946) remain globally influential, particularly for their use of non-professional actors. This period of regeneration of Italian cinema initiated the boom in cinemagoing that made cinema an important vector of national and gender identity for audiences.

The book addresses the casting, performance, and labour of non-professional actors, particularly children, their cultural and economic value to cinema, and how their use brought ideas of the ordinary into the discourse of stars as extraordinary. Relatedly, O'Rawe discusses critical and press discourses around acting, performance, and stardom, often focused on the ‘crisis’ of acting connected to the rise of non-professionals and the girls (like Sophia Loren) who found sudden cinematic fame via beauty contests.

Italian Neorealist Cinema and Beyond

The Non-Professional Actor

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

Perspectives on Performer Training

Practicing Archetype addresses performer training, specifically the self-pedagogy of actors who train solo, on their own, as an independent learning process, an opportunity for embodied research, and a form of critical pedagogy.

Practicing Archetype addresses performer training, specifically the self-pedagogy of actors who train solo, on their own, as an independent learning process, an opportunity for embodied research, and a form of critical pedagogy.

Solo Performer Training as Critical Pedagogy

Practicing Archetype

This is a ground-breaking new book that re-considers a range of trajectories of influence across the established canon of twentieth century practices and challenges conventions of performer training historiography.

This is a ground-breaking new book that re-considers a range of trajectories of influence across the established canon of twentieth century practices and challenges conventions of performer training historiography.

Find Your 'It' Factor

Bibliografische Angaben

Schlagworte

Bibliografische Angaben

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