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Alex Taylor: The Integrated Actor

The Integrated Actor

Imagination, Body, Breath, Voice

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

An Integrated Approach

Voice Training Through Acting and Movement

Physical Improvisation for Theatre Makers and Directors

The Pulse Approach

How the world's best actors communicate with gravitas - and how you can, too. 'The theatre stars' voice guru' Daily MailActing is all about charisma. Whether you're an A-list star or an extra, when you're on stage you need to perform in a way that makes your audience listen. That stage presence is something we can all learn from. Every time you speak up in a meeting, recount an anecdote, or tell a joke, it's essential to communicate with gravitas. Jeannette Nelson knows a thing or two about gravitas. As Head of Voice at the National Theatre, she has spent three decades working with the world's leading actors - from Al Pacino to Benedict Cumberbatch to Juliette Binoche - teaching them to speak clearly and move confidently. Now, Nelson pulls back the curtain on the tricks that professional performers use to own the room. Starting with clear speech and good posture, before moving on to the art of rhetoric and overcoming stage fright, she outlines a holistic three-stage method to communicating with authority, authenticity and eloquence. Throughout, she peppers the book with stories of how world-renowned actors learnt to make themselves heard - and how you can, too. The result is a fascinating and eminently practical guide to the art of performance. If all the world's a stage, then this book will turn you into its lead actor.

Lessons from Actors on the Art of Charisma

Centre Stage

A Waterstones Best Book of 2024'Marriage to Mike Leigh, the minutiae of working on Gavin and Stacey: it's a tribute to her range that there's something here to interest everybody' TelegraphThe first memoir from the national treasure, critically acclaimed actress and much-loved Gavin and Staceystar.

From Abigail’s Party to Gavin and Stacey, and Everything in Between

Out of Character

"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

A History of Intimacy Professionals in Entertainment is the first book that explores the evolution of intimacy coordinators, choreographers and directors in the performing arts, highlighting the history of their critical role in fostering safe(r) and respectful environments on set and in theaters.

An Inside Look at a Movement

A History of Intimacy Professionals in Entertainment

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

Shakespeare in the Theatre

The first dedicated historical study of the Reduced Shakespeare Company, this book explores the troupe's four major Shakespearean works over the past four decades.

Shakespeare in the Theatre: Reduced Shakespeare Company

"In the vein of works by Gary Janetti and Danny Pellegrino, an honest, funny, and heartfelt memoir-in-essays about chasing your dreams, making big messes, and finding yourself along the way"--

In the vein of works by Gary Janetti and Danny Pellegrino, an honest, funny, and heartfelt memoir-in-essays about chasing your dreams, making big messes, and finding yourself along the way.In in his debut book for adults, Jeffery Self invites readers into his world, taking them through the usual foibles of gay adolescence, amplified in the vast wasteland of the American South and the odd characters who peopled it, from shoddy community theater productions to underage drinking with Broadway stars, from downtown comedy rooms to adventure-filled bedrooms. Along the way, he shares his experiences of acting in TV and film, touring live comedy around the world, getting booed off gay cruise ships, a tenure in the “oldest profession,” meeting his heroes, falling in love, getting his heart broken, breaking other people’s hearts, being hated, hating himself, and on the best of days, finding stuff to like about himself, too.Self-Sabotage&nbsp;is a deeply personal and intimate exploration of Self’s life, filled with humor, heartache, and a hearty dose of bipolar disorder. It asks the profound question of how you become the person you want to be when so much of yourself is a secret—and how you learn to accept yourself when it’s not. It is also, of course, side-splittingly funny.

And Other Ways I've Spent My Time

Self-Sabotage

The Integrated Actor

Bibliografische Angaben

Schlagworte

Bibliografische Angaben

Schlagworte

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