Require no sets, props or costumes. Monologues: 7 for women, 9 for men, and 4 optional. Dialogues: 12 woman/woman and 8 man/man. Playlets: 20 with various cast.

Voskuil argues that Victorian Britons saw themselves as "authentically performative," a paradoxical belief that focused their sense of vocation as individuals, as a public, and as a nation.

(Applause Books). Based on his own experience and the teachings of his celebrated but distant father, Lee, John Strasberg defines the talent of becoming real in a role. He surveys the traditional partition between life and theatre, and urges actors to make it a dynamic living membrane through which vital elements may pass. John Strasberg has written his own intensely personal story about his father's work and the Strasberg dynasty. It is a painful odyssey during which he relives the often demanding role he played as son to a man who was the central father figure to a generation of American actors.

"Clarifies why understanding Mark Twain's writing is essential to understanding enduring patterns and problems in American culture. Conversely, it compellingly illustrates why one does not fully understand Mark Twain's work unless one has some understanding of America's preoccupation with performance, conspicuous display, and the mental sciences."--Howard Horwitz, author of "By the Law of Nature: Form and Value in Nineteenth-Century America" "In place of the strictly literary frame of reference that has previously organized the Twain canon, Knoper productively focuses on the spectrum of theatrical attitudes whereby Twain reconfigured his culture's race and gender hierarchies into the power to construct social realities differently. This work is sure to play a significant role in the reinvention of Mark Twain for the New American Studies."--Donald E. Pease, editor of "Revisionary Interventions into the Americanist Canon" "Knoper takes up quintessential aspects of Twain's writings, mind, and career. . . . [He] is brilliant in enunciating clearly and coherently ideas and attitudes that Twain either held confusedly or intimated almost unintentionally."--Louis J. Budd, author of "Our Mark Twain"

How do our eyes process and communicate the data needed for us to negotiate the world around us? This book exploits recent technological advances in eye tracking systems to present a state-of-the-art account of human vision. It explores practical implications, for example in driving, playing sports, and ergonomics.

The Perspective of the Acting Person introduces readers to one of the most important and provocative thinkers in contemporary moral philosophy

In The Actor Speaks, Patsy Rodenburg takes actors and actresses, both professional and beginners, through a complete voice workshop. She touches on every aspect of performance work that involves the voice and sorts through the kinds of vexing problems every performer faces onstage: breath and relaxation; vocal range and power; communication with other actors; singing and acting simultaneously; working on different sized stages and in both large and small auditoriums; approaching the vocal demands of different kinds of scripts. This is the final word on the actor's voice and it's destined to become the classic work on the subject for some time to come.

Truthful human behaviour on stage and screen. Definitely not a 'how-to' book! This book articulates the intangible -- how to capture lightning in a jar. It works to develop awareness in order to help the aspiring actor evolve, grow and mature as a performer. Acting is an art that comes from oneself -- no tricks, no special techniques. Every great artist begins as a craftsman then develops into an artist. Each of the 100 plain-speaking lessons in this book is brief and deals with an essential truth. The book is divided into 5 sections: Approach, Fundamentals, Classes and Rehearsals, Performance and Final Lessons. A supplemental work for students and professionals.

The Invisible Actor presents the captivating and unique methods of the distinguished Japanese actor and director, Yoshi Oida. While a member of Peter Brook's theatre company in Paris, Yoshi Oida developed a masterful approach to acting that combined the oriental tradition of supreme and studied control with the Western performer's need to characterise and expose depths of emotion. Written with Lorna Marshall, Yoshi Oida explains that once the audience becomes openly aware of the actor's method and becomes too conscious of the actor's artistry, the wonder of performance dies. The audience must never see the actor but only his or her performance. Throughout Lorna Marshall provides contextual commentary on Yoshi Oida's work and methods. In a new foreword to accompany the Bloomsbury Revelations edition, Yoshi Oida revisits the questions that have informed his career as an actor and explores how his skilful approach to acting has shaped the wider contours of his life.