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Burgess T: The Singing and Acting
Handbook

The Singing and Acting Handbook

Games and Exercises for the Performer

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

Walker Clark did not set out to be an acting coach, life coach, business coach, or any other type of coach for that matter. He discovered what being an actor could do for individuals. Not the acting you already know about; Walker's way of being an actor has given him and others permission to create new ways of being and acting in life-unencumbered by the past. Permission to act is the freedom and the possibility to be someone new: to be an actor-one who lives as the possibility of being anything. This discovery has left him free to be and free to engage and interact with life in the present, which allows for enormous power and impact with the people he coaches.&nbsp;Permission to Act is a memoir of sorts. It started out as a means of answering a seemingly simple question posed by his father. You may be entertained. Coaches may discover coaching, parents may discover parenting, and athletes may discover their sport. As you take this journey with Walker you may discover what permission to act is for you...or maybe you'll just laugh.&nbsp;&nbsp;

Walker Clark did not set out to be an acting coach, life coach, business coach, or any other type of coach for that matter. He discovered what being an actor could do for individuals. Not the acting you already know about; Walker’s way of being an actor has given him and others permission to create new ways of being and acting in life—unencumbered by the past. Permission to act is the freedom and the possibility to be someone new: to be an actor—one who lives as the possibility of being anything. This discovery has left him free to be and free to engage and interact with life in the present, which allows for enormous power and impact with the people he coaches.&nbsp; Permission to Act is a memoir of sorts. It started out as a means of answering a seemingly simple question posed by his father. You may be entertained. Coaches may discover coaching, parents may discover parenting, and athletes may discover their sport. As you take this journey with Walker you may discover what permission to act is for you…or maybe you’ll just laugh.&nbsp;&nbsp;

Permission to Act

Forms of Drama

Drawing on more than 4 decades of experience working in Nautanki as a writer, director, singer, and actor, Sharma’s book is the first major study to analyse Nautanki not only through its literary bases, but also through live performances, considering it both in a historical vein and as contemporary theatre on the ground.
 
 What entertained India’s masses and elites before the arrival of cinema in India? When did “modern” theatre begin in India and how did Nautanki contribute to its rise?
 
 In this book, renowned theatre scholar and 7th-generation Nautanki artist Devendra Sharma examines the theatrical form of Nautanki—its history, organisational structure, narratives, poetics, musical structures, artists, and performance spaces—which flourished in North India in the 19th and the 20th centuries, and is still popular now.
 
 In a concise format, Sharma explores how this socially and politically relevant theatre, full of beautiful music, swashbuckling heroes, magic, romance, and contemporary themes, once charmed audiences throughout India’s cities and countryside towns and served as the continuation of elements of ancient Indian theatre. This book unravels a critical shift in the history of Indian theatre, the move from unbounded performance spaces to proscenium stages in big cities, and how this changed the meaning of theatre in India. It examines how forces of globalization and modernization have profoundly changed India’s theatrical landscape, arguably side-lining one of its most robust theatre forms of the 19th and 20th centuries. It also discusses the future of Nautanki, and how it is now being performed globally. Nautanki is essential reading for anybody interested in Indian theatre, world theatre, musical theatre, opera, and Bollywood.

The Musical Theatre of North India

Nautanki

The Study of Sound

Bringing concepts from early film theory into dialogue with the vibrant field of contemporary sound studies, Wild Sound turns an analytic eye and ear to the role of the soundscape in cinema, particularly the way that film soundtracks capture, create, represent, and even critique our sonic environment. 

Listening beyond music and dialogue, this book draws attention to the oft-ignored background soundscape-film's "wild sound"-which plays a quiet but substantial role in determining how film audiences feel about certain places, people, and processes. It explores the relationship between location sound and wider practices of phonographic field recording in the creation of a cinematic sonic environment.

The latter half of the book shifts attention from from the controlled soundscapes of cinema to the relatively chaotic sonic environments of the world around us. Michael Pigott ultimately demonstrates how a theory of cinematic soundscapes helps us develop practical strategies for investigating the sonic environment in our personal and natural sound worlds, beyond the cinema auditorium.

Wild Sound

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

Abracadabra Woodwind

Learn to play the flute with popular pieces - lessons and sheet music for beginners

The Way to Learn Through Songs and Tunes

Abracadabra Flute

Wanting to understand the workings and methods of your favourite theatre practitioner? Look no further. This accessible guide summarizes the methods of 20 practitioners by collecting the most important features of their work and framing them so that even the novice actor will understand the material. Introducing us to the work of practitioners such as: Konstantin Stanislavski, Vsevolod Meyerhold, Bertolt Brecht, Michael Chekhov, Jacques Copeau, Maria Knebel, Lee Strasberg, Stella Adler, Sanford Meisner, Viola Spolin, Uta Hagen, Augusto Boal, Jerzy Grotowski, Tadashi Suzuki, and Anne Bogart among a number of others, the book sets readers on the path to discovering the methods they want to explore in greater depth. It does so through each chapter offering: - biographical information on each practitioner - a description of their method - suggestions for digging deeper and further exploration - journal and discussion questions - the opportunity for practical application with 3-6 hours' worth of in-class activities for instructors to use As a whole, the book seeks to offer an introduction to the many acting teachers and their methods in one place, demystifying terminology such as "biomechanics", "active analysis", "grounding" and "viewpoints", and introducing readers to the founders of the principles that make up modern acting.

Understanding Practitioners and their Legacies

A Beginner’s Guide to Acting Methods

The first collected correspondence of one of America’s greatest songwriters—revealing a fascinating life and lasting influence

The Letters of Frank Loesser

Providing a thorough introduction to both choral and instrumental conducting, this textbook offers a complete package of teaching, study, and assessment materials to support a single-semester foundational conducting course.

Fundamentals of Instrumental and Choral Conducting

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

The Politics of Form in Contemporary British Performance

Proper Theatre

The Singing and Acting Handbook

Bibliografische Angaben

Schlagworte

Bibliografische Angaben

Schlagworte

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