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Experts in a wide array of disciplines provide remarkable insight into the Alexander technique, the use of psychological gesture, period movement, the work of Rudolph Laban, postmodern choreography, and Suzuki training, to name but a few. Those who want to pursue serious training will be able to consult the appendix for listings of the best teachers and schools in the country. This inspiring collection is a must read for all actors, directors, and teachers of theater looking for stimulation and new approaches.
| Introduction |
| Part I: A Little History |
| Biomechanics: Understanding Meyerhold's System of Actor Training |
| Marianne Kubik |
| Michael Chekhov, Psychological Gesture, and the Thinking Heart |
| Floyd Ruhmor |
| Theatrical Stillness |
| Mary Fleischer |
| Teaching Charlie Chaplin How to Walk |
| Dan Kamin |
| Part II: Body Basics |
| The Feldenkrais Method® |
| Alan Questel |
| Alexander Technique and the Integrated Actor: Applying the Principles of the Alexander Technique to Actor Preparation |
| Teresa Lee |
| An Introduction to Laban Movement Analysis for Actors: A Historical, Theoretical, and Practical Perspective |
| Barbara Adrian |
| Breathe Before You Act |
| Caroline Thomas |
| Part III: Transformations |
| Mask and Ritual |
| Shelley Wyant |
| The Smallest Mask: The Red Nose |
| Jean Taylor |
| Discovering Ensemble and Impulse through Improvisation |
| Paul Urcioli |
| Part IV: Beyond Glove and Fan |
| Bringing the Past into the Present: Period Dance on the Stage and in the Curriculum |
| Nira Pullin |
| Shakespeare Honors the Three Centers of the Body |
| Susan Dibble |
| Some Rehearsal Notes for Molière and Restoration Comedy Style |
| Rod McLucas |
| Part V: Schools of Thought |
| The Williamson Technique: The Physical Process of Acting |
| Lloyd Williamson |
| An Introduction to Margolis MethodTM: A Dynamic Physical Approach to Actor Training |
| Kari Margolis |
| Movement Training: Dell'Arte International |
| Joan Schirle |
| Part VI: Inside Out and Outside In |
| Synergizing Internal and External Acting |
| Jill Mackavey |
| The Actor as Athlete of the Emotions: The Rasaboxes Exercise |
| Michele Minnick and Paula Murray Cole |
| Part VII: Moving Forward |
| Mind-Body Juggling for the Camera |
| Erika Batdorf |
| Teaching Postmodern Choreography to Actors: Eschewing the Inebriation of Emotion |
| Annie-B Parson and Nicole Potter |
| SITI: Why We Train: A Conversation between Anne Bogart and the SITI Company |
| compiled by Will Bond |
| The Problem of Movement Theater |
| Brad Krumholz |
| Contributors |
| Appendix A: A Short Resource List for Schools and Training Programs for Movement |
| Appendix B |
Overview
Experts in a wide array of disciplines provide remarkable insight into the Alexander technique, the use of psychological gesture, period movement, the work of Rudolph Laban, postmodern choreography, and Suzuki training, to name but a few. Those who want to pursue serious training will be able to consult the appendix for listings of the best teachers and schools in the country. This inspiring collection is a must read for all actors, directors, and teachers of theater looking for...