Performing Arts

The classic book on acting, in an attractive updated edition

Since its original publication in 1973, Uta Hagen’s Respect for Acting has remained a durable classic and a must-read for all students of acting. As an acting instructor at the Herbert Berghof Studio, Hagen helped to develop the talents of world-class actors like Robert DeNiro, Matthew Broderick, Gene Wilder, Amanda Peet, Austin Pendleton, Whoopi Goldberg, and more. In this book, Hagen offers an indispensable account of the techniques that professionals use to elevate their acting to an art form. This updated edition illuminates Hagen’s original text with a new foreword written by Katie Finneran, retaining the David Hyde Pierce foreword, along with added background on HB Studio―one of the original New York performing arts training and practice spaces―and an excerpt from Hagen’s autobiography SOURCES.

In working through this book, actors will learn physical, verbal, and emotional practice that empower them to connect their own self-concept to the characters they play. Specific, detailed exercises help actors learn to address a range of problems actors face, like maintaining immediacy and relevance, and developing the dimensions of a role over a long performance run. Respect for Acting is a book for actors and audiences who understand the need for truth in the creative process.

• Discover the acting book that has shaped professional theater performances for decades
• Learn the history and background of Herbert Berghof Studio, one of New York’s foremost acting schools
• Practice the craft of acting with concrete exercises and instruction on technique
• Delve into the deep questions that arise when actors truly inhabit the lives of their characters

Actors at all levels of their craft will love this stunning updated version of the essential Respect for Acting.

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THE SUNDAY TIMES TOP 10 BESTSELLER

This Christmas let Dame Judi Dench take you behind the scenes as she shares her life with, and love of Shakespeare.

‘A MAGICAL LOVE LETTER TO SHAKESPEARE’ Sir Kenneth Branagh
‘Companionable and compelling – it genuinely feels like you’re sitting at her kitchen table with her. If you love Judi Dench or Shakespeare (and most of us do), look no further’ Guardian
‘It swirls and dances with brilliance and mischief’ Daily Mail
‘Gloriously entertaining’ Observer

Taking a curtain call with a live snake in her wig…

Cavorting naked through the countryside painted green…

Acting opposite a child with a pumpkin on his head…

These are just a few of the things Dame Judi Dench has done in the name of Shakespeare.

For the very first time, Judi opens up about every Shakespearean role she has played throughout her seven-decade career, from Lady Macbeth and Titania to Ophelia and Cleopatra.

Here she reveals her behind the scenes secrets; inviting us to share in her triumphs, disasters, and backstage shenanigans, all brightened by her mischievous sense of humour and striking honesty.
Witty, provocative and inspiring, this is ultimately Judi’s love letter to Shakespeare, or rather, The Man Who Pays The Rent.

‘An utterly delightful book… Shakespeare from a great actor’s perspective – that repeatedly strikes to the heart of the matter with a sharp instinctive intelligence that puts fancy-pants literary critics to shame’ Telegraph

‘A wonderful ode to the bard’ I
‘The book is pure enchantment. It swirls and dances with brilliance and mischief, so forget traditional Shakespearean criticism and analysis. Sack the Eng. Lit. professors. As never before, this book brings the subject to wild, authentic life.’ Daily Mail

‘Riveting, revealing and witty’ Gazette and Herald

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With a foreword by Mark Rylance.

Why does Shakespeare write in the way he does? And how can actors and directors get the most out of his incomparable plays? In Speaking the Speech, Giles Block – ‘Master of the Words’ at Shakespeare’s Globe – sets out to answer these two simple questions. The result is the most authoritative, most comprehensive book yet written on speaking Shakespeare’s words.

Throughout the book, the author subjects Shakespeare’s language to rigorous examination, illuminating his extraordinary ability to bring his characters to life by a simple turn of phrase, a breath or even a pause. Block shows how we can only fully understand these characters, and the meaning of the plays, by speaking the words out loud.

Drawing on characters from across all of Shakespeare’s plays – and looking in detail at Macbeth, The Winter’s Tale, Hamlet, The Merchant of Venice and Much Ado About Nothing – Block covers everything the actor needs to know, including: the essential distinctions between prose, rhymed verse and unrhymed verse, and the different strategies to be used when speaking them; the difference between you and thou; Shakespeare’s use of silence; and the vital importance of paying attention to Shakespeare’s original punctuation.

Speaking the Speech is a book for actors and directors who want to improve their understanding of Shakespeare’s language in order to speak it better. It is also a fascinating read for anyone who wants to deepen their appreciation of Shakespeare’s language and the way it comes to life when spoken aloud.

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Stanislavsky and Race is the first book to explore the role that Konstantin Stanislavsky’s “system” and its legacies can play in building, troubling and illuminating today’s anti-racist theatre practices.

This collection of essays from leading figures in the field of actor training stands not only as a resource for a new area of academic enquiry, but also for students, actors, directors, teachers and academics who are engaged in making inclusive contemporary theatre. In seeking to dismantle the dogma that surrounds much actor training and replace it with a culturally competent approach that will benefit our entire community, the “system” is approached from a range of perspectives featuring the research, reflections and provocations of 20 different international artists interrogating Stanislavsky’s approach through the lens of race, place and identity.

Stanislavsky and … is a series of multi-perspectival collections that bring the enduring legacy of Stanislavskian actor training into the spotlight of contemporary performance culture, making them ideal for students, teachers and scholars of acting, actor training and directing.

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Cicely Berry, Voice Director of the Royal Shakespeare Company, is world-famous for her voice teaching. The Actor and the Text is her classic book, distilled from years of working with actors of the highest calibre.

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William Esper, one of the most celebrated acting teachers of our time, takes us through his step-by-step approach to the central challenge of advanced acting work: creating and playing a character.

Esper’s first book, The Actor’s Art and Craft, earned praise for describing the basics taught in his famous first-year acting class. The Actor’s Guide to Creating a Character continues the journey. In these pages, co-author Damon DiMarco vividly re-creates Esper’s second-year course, again through the experiences of a fictional class. Esper’s training builds on Sanford Meisner’s legendary exercises, a world-renowned technique that Esper further developed through his long association with Meisner and the decades he has spent training a host of distinguished actors. His approach is flexible enough to apply to any role, helping actors to create characters with truthful and compelling inner lives.

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The town of Port Talbot has long been seen (quite literally) as synonymous with the steel industry. Yet it also has another claim to fame as the actorsx27 capital of Wales. It has produced a remarkable number of actors since the inter-war years. Richard Burton, Anthony Hopkins and Michael Sheen head the glittering cast but there are many others including early stars such as Ronald Lewis and Ivor Emmanuel, more recent figures like Rob Brydon and Di Botcher as well as a cluster of exciting young actorsstarting to make their names in the West End and on the big and small screen.This book suggests explanations for this phenomenon. Its author is a historical biographer who hails from Port Talbot and has done extensive research including numerous interviews. It explores the provision of educational and cultural facilities for young people over the years and demonstrates a commitment to drama that is deeply embedded in the townx27s history. It tells in some depth the stories of the super-stars but in a novel way, focusing on how they emerged and on those who nurtured their talent, presenting the actors as part of a tradition that was set in motion even before Richard Burton began to make his mark. It surveys the careers of fifty actors from Port Talbot and it considers what its most famous stars have put back into their community, culminating in the spectacular three-day event of Easter 2011 when Michael Sheen resurrected Port Talbotx27s pride and hopes through the immersive theatrical experience of The Passion.Written at a time of mixed fortunes for actors when funding for training is threatened yet opportunities for theatre and film work are expanding within Wales, this book puts centre-stage a town, its actors and those who guide them and so offers a new kind of cultural history. Such an approach also raises wider questions about the importance of the arts and of drama in particular to the wellbeing of communities.

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