The book focuses on the way various film icons engaged in and defined some major issues of cultural and social concern to America during the 1980s.

Black Acting Methods seeks to offer alternatives to the Euro-American performance styles that many actors find themselves working with. A wealth of contributions from directors, scholars and actor trainers address afrocentric processes and aesthetics, and interviews with key figures in Black American theatre illuminate their methods. This ground-breaking collection is an essential resource for teachers, students, actors and directors seeking to reclaim, reaffirm or even redefine the role and contributions of Black culture in theatre arts. Chapter 7 of this book is freely available as a downloadable Open Access PDF at http://www.taylorfrancis.com under a Creative Commons Attribution-Non Commercial-No Derivatives (CC-BY-NC-ND) 4.0 license.

This is a portrait of the life and work of acting teacher and author Sonia Moore, whose book The Stanislavksi System is still in wide use in acting schools and universities. By analyzing Moore's research, teaching, and directing, the authors convey not only what Moore attempted with her work, but also reveal how she became a kind of artistic heir to Stanislavksi.

What does it mean to "act black" or "act white"? Is race merely a matter of phenotype, or does it come from the inflection of a person's speech, the clothes in her closet, how she chooses to spend her time and with whom she chooses to spend it? What does it mean to be "really" black, and who gets to make that judgment? In Acting White?, leading scholars of race and the law Devon Carbado and Mitu Gulati argue that, in spite of decades of racial progress and the pervasiveness of multicultural rhetoric, racial judgments are often based not just on skin color, but on how a person conforms to behavior stereotypically associated with a certain race. Specifically, racial minorities are judged on how they "perform" their race. This performance pervades every aspect of their daily life, whether it's the clothes they wear, the way they style their hair, the institutions with which they affiliate, their racial politics, the people they befriend, date or marry, where they live, how they speak, and their outward mannerisms and demeanor. Employing these cues, decision-makers decide not simply whether a person is black but the degree to which she or he is so. Relying on numerous examples from the workplace, higher education, and police interactions, the authors demonstrate that, for African Americans, the costs of "acting black" are high, and so are the pressures to "act white." But, as the authors point out, "acting white" has costs as well. Provocative yet never doctrinaire, Acting White? will boldly challenge your assumptions and make you think about racial prejudice from a fresh vantage point.

Publisher Description

To support a new generation of actors/acting teachers by coupling fresh ideas and new approaches with the best proven methods and practices. On Acting is written primarily for the contemporary American actor. It strives to address the acting process with an eye toward the performance culture and requirements that exist today. It is a book for the new twenty-first century artist—the serious practical artist who seeks to pursue a career that is both fulfilling and viable. The text features a balance of philosophy, practical advice, anecdotal evidence/experiences and a wide variety of acting exercises/activities. Also included is the short Steven Breese play "Run. Run. Run Away" and an example of a scene score from that play.

The first comprehensive survey and study of the major techniques developed by and for the American actor over the past 60 years. Presented side-by-side, each of the 10 disciplines included is described in detail by one of today's foremost practitioners. An invaluable resource both for the young actor embarking on a career and for the theatre professional polishing his or her craft. ''successful acting must reflect a society's current beliefs. The men and women who developed each new technique were convinced that previous methods were not equal to the full challenges of their time and place, and the techniques in this book have been adapted to current needs in order to continue to be successful methods for training actors. The actor's journey is an individual one, and the actor seeks a form, or a variety of forms, of training that will assist in unlocking his own creative gifts of expression.''

Method Acting and Its Discontents: On American Psycho-Drama provides a new understanding of a crucial chapter in American theater history. Enelow’s consideration of the broader cultural climate of the late 1950s and early 1960s, specifically the debates within psychology and psychoanalysis, the period’s racial and sexual politics, and the rise of mass media, gives us a nuanced, complex picture of Lee Strasberg and the Actors Studio and contemporaneous works of drama. Combining cultural analysis, dramaturgical criticism, and performance theory, Enelow shows how Method acting’s contradictions reveal powerful tensions inside mid-century notions of individual and collective identity.

Actors! Engage your mind and your body in order to develop your characters fully. The Lucid Body technique breaks up stagnant movement patterns and expands your emotional and physical range. Through energy analysis, this program shows how to use physical training to create characters from all walks of life—however cruel, desolate, or neurotic those characters may be. Rooted in the exploration of the seven chakra energy centers, The Lucid Body reveals how each body holds the possibility of every human condition. Learn how to analyze the character, hear the inner body, dissect the self into layers of consciousness, and more.

Everyone has heard of Method acting . . . but what about Modern acting? This book makes the simple but radical proposal that we acknowledge the Modern acting principles that continue to guide actors’ work in the twenty-first century. Developments in modern drama and new stagecraft led Modern acting strategies to coalesce by the 1930s – and Hollywood’s new role as America’s primary performing arts provider ensured these techniques circulated widely as the migration of Broadway talent and the demands of sound cinema created a rich exchange of ideas among actors. Decades after Strasberg’s death in 1982, he and his Method are still famous, while accounts of American acting tend to overlook the contributions of Modern acting teachers such as Josephine Dillon, Charles Jehlinger, and Sophie Rosenstein. Baron’s examination of acting manuals, workshop notes, and oral histories illustrates the shared vision of Modern acting that connects these little-known teachers to the landmark work of Stanislavsky. It reveals that Stella Adler, long associated with the Method, is best understood as a Modern acting teacher and that Modern acting, not Method, might be seen as central to American performing arts if the Actors’ Lab in Hollywood (1941-1950) had survived the Cold War.