Patrick Tucker finds the key to acting Shakespeare in a rediscovered method. The trick is called the 'Platt': a cue script with only one actor's lines on it. When it is used, no one knows how the plot will develop.
Secrets of Acting Shakespeare isn't a book that gently instructs. It's a passionate, yes-you-can designed to prove that anybody can act Shakespeare. By explaining how Elizabethan actors had only their own lines and not entire playscripts, Patrick Tucker shows how much these plays work by ear. Secrets of Acting Shakespeare is a book for actors trained and amateur, as well as for anyone curious about how the Elizabethan theater worked.
Madd Harold strips Shakespeare of his mystique and gives the professional actor, drama student, and theatre director access to unambiguous and easy-to-master techniques used by great actors throughout the ages.
Acting from Shakespeare's First Folio examines a series of techniques for reading and performing Shakespeare's plays that are based on the texts of the first ‘complete’ volume of Shakespeare's works: the First Folio of 1623. Do extra syllables in a line suggest how it might be played? Can Folio commas reveal character? Don Weingust places this work on Folio performance possibility within current understandings about Shakespearean text, describing ways in which these challenging theories about acting often align quite nicely with the work of the theories' critics. As part of this study, Weingust looks at the work of Patrick Tucker and his London-based Original Shakespeare Company, who have sought to discover the opportunities in using First Folio texts, acting techniques, and what they consider to be original Shakespearean performance methodologies. Weingust argues that their experimental performances at the Globe on Bankside have revealed enhanced possibilities not only for performing Shakespeare, but for theatrical practice in general.
Worried about short rehearsal time? Think that fluffing your lines will be the end of your career? Are you afraid you'll be typecast? Is there such a thing as acting too much? How should a stage actor adjust performance for a camera? And how should an actor behave backstage? The Actor's Survival Handbook gives you answers to all these questions and many more. Written with verve and humor, this utterly essential tool speaks to every actor's deepest concerns. Drawing upon their years of experience on stage, backstage, and with the camera, Patrick Tucker and Christine Ozanne offer forthright advice on topics from breathing to props, commitment to learning lines, audience response to simply landing the job in the first place. The book is rich with examples - both technical and inspirational. And because a director and an actor won't always agree, the two writers sometimes even offer alternative responses to a dilemma, giving the reader both an actor's take and a director's take on a particular point. Like Patrick Tucker's Secrets of Screen Acting, this new book is written with wit and passion, conveying the authors' powerful conviction that success is within every actor's grasp.
Peter Brook was the most consistently innovative director in Western theatre. In these three essays he returns to the concept of his first book The Empty Space and examines what that means for the life of a production. How can a company establish its own "empty space" - a rehearsal and performance environment which will encourage the actors to abandon the security of the hackneyed and release their true creativity? The potency of Brook's writing lies in his ability invest general truths with fresh vigour and to be as simple as he is profound.
“Much like Donna Tartt’s The Secret History, M. L. Rio’s sparkling debut is a richly layered story of love, friendship, and obsession...will keep you riveted through its final, electrifying moments.” —Cynthia D’Aprix Sweeney, New York Times bestselling author of The Nest "Nerdily (and winningly) in love with Shakespeare...Readable, smart.” —New York Times Book Review On the day Oliver Marks is released from jail, the man who put him there is waiting at the door. Detective Colborne wants to know the truth, and after ten years, Oliver is finally ready to tell it. A decade ago: Oliver is one of seven young Shakespearean actors at Dellecher Classical Conservatory, a place of keen ambition and fierce competition. In this secluded world of firelight and leather-bound books, Oliver and his friends play the same roles onstage and off: hero, villain, tyrant, temptress, ingénue, extras. But in their fourth and final year, good-natured rivalries turn ugly, and on opening night real violence invades the students’ world of make-believe. In the morning, the fourth-years find themselves facing their very own tragedy, and their greatest acting challenge yet: convincing the police, each other, and themselves that they are innocent. If We Were Villains was named one of Bustle's Best Thriller Novels of the Year, and Mystery Scene says, "A well-written and gripping ode to the stage...A fascinating, unorthodox take on rivalry, friendship, and truth."
A detailed guide to approaching Shakespearean text, Speak the speech! contains everything an actor needs to select and prepare a Shakespeare monologue for classwork, auditions, or performance. Included herein are over 150 monologues. Each one is placed in context with a brief introduction, is carefully punctuated in the manner that best illustrates its meaning, and is painstakingly and thoroughly annotated. Each is also accompanied by commentary that will spark the actor's imagination by exploring how the interrelationship of meter and the choice of words and sounds yields clues to character and performance. And throughout the book sidebars relate historical, topical, technical, and other useful and entertaining information relevant to the text. In addition, the authors include an overview of poetic and rhetorical elements, brief synopses of all the plays, and a comprehensive index along with other guidelines that will help readers locate the perfect monologue for their needs.