In the first volume of his "Mask: A Release of Acting Resources" David Griffiths examines the present state of actor-training, and surveys past experiments and styles developed by Stanislavsky, Meyerhold, Grotowski and Brecht. He recommends a way in which the standards of performance skills in theatre may parallel those already established in other performing arts such as music and dance. The author's philosophy as a theatre practitioner is the mask and here he explains the special skills required to animate it, helping the reader by extensive and cogent use of his own illustrations.

This book is a wonderfully accessible introduction to a fresh and innovative acting technique for actors, theatre-makers and teachers to use in training and rehearsal. A mask releases the actor to be playful, and playfulness generates ideas, finds meaning, develops characterisation - and is infinitely more fun than traditional training.Rather than a dry guide to making masked theatre, it is about, for instance, playing Lady Macbeth in Red Nose, or Hamlet in the mask of The Victim, The Ogre or The Fool, or even Romeo and Juliet in grotesque half-masks... All in the name of liberating your creativity and, ultimately, improving your performance.Extensively illustrated with a rich variety of masks, this inventive and pragmatic book is full of invaluable games and exercises drawn from the author's own workshops, his experience as co-founder of both Trestle and Told by an Idiot, and his pioneering mask and clown work in many professional productions.

Because mask improvisation work is relatively new in American theater training, this book is designed not only to acquaint readers with the theory of mask improvisation but to instruct them in the techniques of method as well. Featuring dozens of improvisational exercises in the innovative spirit of Viola Spolin, and supplemented with practical appendices on mask design and construction, forms and checklists, and other classroom materials, this book is an invaluable tool for teacher and student alike, as well as compelling reading for anyone interested in acquiring a deeper understanding of masks as agents of transformation, creativity, and performance.

Behind the mask, Appel notes, the stu­dent is free to create a personality; paradox­ically, because the mask hides the self, it en­ables the student to probe more deeply into himself. "This book describes, defines, and dis­cusses the mask characterization process, providing the theory behind the exercises and the step-by-step procedure in the organ­ic development of the character from the masks," Appel notes. The manual is divided into two parts: "The Instructor's Guide" and "The Actor's Guide." There is also an intro­ductory chapter, "The Class Structure," which explains mask characterization pro­cedures in the classroom, and a sample class schedule may be found in the back of the manual. This book adds a new dimension to actor training and learning. It is essential to aspir­ing actors seeking new ways to create honest dramatic characterizations.

"The mask - as object, symbol, character, theatrical practice, even spectacle - is the central metaphor around which Fava builds his discussion of structure, themes, characters, and methods. His book combines historical fact, personal experience, philosophical speculation, and passionate opinion. Including period drawings, prints, and color photographs of leather masks made by Fava himself, The Comic Mask in the Commedia dell'Arte is a rich work of singular insight into one of the world's most venerable forms of theater." --Book Jacket.

THE SECOND EDITION OF THIS TITLE, ENTITLED ACTOR TRAINING, IS NOW AVAILABLE. Actor training is arguably the central phenomenon of twentieth century theatre making. Here for the first time, the theories, training exercises and productions of fourteen directors are analysed in a single volume, each one written by a leading expert. The practitioners included are: * Stella Adler * Bertolt Brecht * Joseph Chaikin * Jacques Copeau * Joan Littlewood * Vsevelod Meyerhold * Konstantin Stanislavsky * Eugenio Barba * Peter Brook * Michael Chekhov * Jerzy Grotowski * Sanford Meisner * Wlodimierz Staniewski * Lee Strasbourg Each chapter provides a unique account of specific training exercises and an analysis of their relationship to the practitioners theoretical and aesthetic concerns. The collection examines the relationship between actor training and production and considers how directly the actor training relates to performance. With detailed accounts of the principles, exercises and their application to many of the landmark productions of the past hundred years, this book will be invaluable to students, teachers, practitioners, and academics alike.

Actor Doug Bradley, who portrays the terrifying character Pinhead in Clive Barker's 'Hellraiser' series of films, gives his personal guide to cinema monsters and the men who portray them, including legends Lon Chaney and Boris Karloff, and unforgettable creatures such as The Wolf Man and The Phantom of the Opera.

‘This is one of the most important topics today that seemingly no one is talking about: how men can take care of their emotional health in a 21st century that demands it. Crucial reading for any young or struggling man.’ - Mark Manson, #1 New York Times bestselling author of The Subtle Art of Not Giving a F*ck At 30 years old, Lewis Howes was outwardly thriving but unfulfilled inside. He was a successful athlete and businessman, achieving goals beyond his wildest dreams, but he felt empty, angry, frustrated, and always chasing something that was never enough. His whole identity had been built on misguided beliefs about what "masculinity" was. Howes began a personal journey to find inner peace and to uncover the many masks that men – young and old – wear. In The Mask of Masculinity, Howes exposes: · The ultimate emptiness of the Material Mask, the man who chases wealth above all things; · The cowering vulnerability that hides behind the Joker and Stoic Masks of men who never show real emotion; and · The destructiveness of the Invincible and Aggressive Masks worn by men who take insane risks or can never back down from a fight. He teaches men how to break through the walls that hold them back and shows women how they can better understand the men in their lives. It's not easy, but if you want to love, be loved and live a great life, then it's an odyssey of self-discovery that all modern men must make. This book is a must-read for every man – and for every woman who loves a man.

This book, from Europe’s leading Mask director and co-founder of the Trestle Theatre Company, provides a fascinating demystification of the process of using masks. Full of simple explanations, and collating over twenty-five years’ experience of writing for, directing and acting in masks, The Mask Handbook examines how masks have the ability to play the fundamental game of theatre – the suspension of disbelief. The Handbook includes: an introduction to the origin of masks advice on preparing, making and using masks tips on writing, devising and directing maskwork lots of fun and effective practical exercises. This accessible and inspiring handbook will empower teachers, directors and actors to fully explore the world of the mask.

Drawing on archival sources, this is the first book to explore Thalberg's insights into casting, editing, story composition and the importance of the mass audience from a theoretical perspective.