At last, Jean Benedetti has succeeded in translating Stanislavski's huge manual into a lively, fascinating and accurate text in English, remaining faithful to the author's original intentions within a colloquial and readable style for today's actors.

An Actor’s Work on a Role is Konstantin Stanislavski’s exploration of the rehearsal process, applying the techniques of his seminal actor training system to the task of bringing truth to one’s chosen role. Originally published over half a century ago as Creating a Role, this book was the third in a planned trilogy – after An Actor Prepares and Building a Character, now combined in An Actor’s Work – in which Stanislavski sets out his psychological, physical and practical vision of actor training. This new translation from renowned scholar Jean Benedetti not only includes Stanislavski’s original teachings, but is also furnished with invaluable supplementary material in the shape of transcripts and notes from the rehearsals themselves, reconfirming 'The System' as the cornerstone of actor training.

For too long the world of corporate role play has felt like a closed shop that only a few privileged actors have had access to. Now, this book provides any actor with what they need to start and build a side-career in corporate role play, utilising all of the skills they already have in their portfolio. Detailing what corporate role play is, how to do it, how to get the work and how to get re-employed, this book offers up a clear roadmap, enabling actors to deliver top-quality role plays and evidence-based developmental feedback time and time again. Using the author's masterclasses as a foundation, the book includes a range of role play briefs an actor may encounter, each accompanied by top tips on how to execute them successfully.

Competition for acting work is fierce, and although talent is important, actors need all the help they can get. Now in its fourth edition, this practical, comprehensive guide contains invaluable information and advice to enable actors to make the most of: drama schools; audition speeches and sight-readings; letters, CVs and photographs; finding and working with an agent; auditions for musicals; the fringe; interviews; TV, commercials and films; voice-overs; the Internet; Equity. The author, an experienced director, has drawn on his own knowledge and also on the experience of numerous other professionals to produce a book that has become the standard work of reference for actors of all ages.

An Actor’s Edition of Shakespeare Revisited is a book for actors, directors, professors of theatre and the general public. Each of the plays has been edited for more understandability and length. The intent of the book was to make the works more accessible without making the language modern. When audiences see a Shakespeare play, they have only one time to grasp the words as they are spoken. Audience members do not have time to look at lengthy explanations or notes about words or expressions. Therefore, this edition of these five plays, presents the plays so that audience members as well as actors can follow the plays with little difficulty. Some words have been changed to accomplish this. In certain speeches, subjects or verbs were supplied for understandability. Because Shakespeare used many pronouns, these plays make use of more nouns so that the meaning of who or what is being spoken about becomes more clear. The book also has some useful tools for the director and actors. A chart has been provided for each play that lists each character by act and scene. This can be very useful when there is a need to double cast actors. In addition, a “combination roles” page has also been added which gives suggestions for doubling parts for a smaller company. To help at rehearsals, page numbers for the beginning of each act and scene is provided on a single page for each play. Finally, each play has been broken into “beats” for the actor and the director. It is the hope of the author of this book that more people will find excitement in reading, performing, staging, or viewing Shakespeare because of the edited versions for understandability. Enjoy the plays---either reading or performing.

Offering revolutionary new training for the actor, The Actor's Secret teaches actors and performers how to incorporate the fundamentals of the Alexander Technique, Somatic Experiencing®, and Breathing Coordination in order to reduce performance anxiety and stress; improve stage presence, breathing, and vocal production; and restore well-being and healthy functioning. These three kinesthetic disciplines are designed to lead to profound change and healing through body-mind reeducation. Part I explains in detail the principles of the three techniques. A practical method for self-improvement and neuromuscular reeducation, the Alexander Technique focuses on changing inefficient habits of movement and patterns of tension that inhibit the ability to move easily. Breathing Coordination helps increase breathing capacity and awareness. A method for resolving emotional trauma, Somatic Experiencing® follows a process of tracking bodily sensations to restore vitality and health. Enhanced with over 100 instructive photos, Parts II and III present explorations and exercises that draw on elements of the three methods. Topics covered include the importance of presence and non-doing; the proper mechanics of vocalization and singing; the understanding of character and role; and the actor's journey from auditions to performance, including initial script preparation, rehearsal, monologue, and scene work. Developed by Betsy Polatin, a movement specialist and master lecturer at Boston University's College of Fine Arts, the book's exercises provide the actor with simple tools for exploring his or her acting work. Most techniques and self-help books teach a new way of "doing." The secret of this book lies in "non-doing." When the actor learns to first recognize and then suspend habitual patterns, he or she opens the door to deeper artistic choices. "I have worked with many fine Alexander Technique teachers over the years and Betsy Polatin is far and away one of the finest. Her touch, her instincts, and her knowledge are miraculous."—Andre Gregory, actor and director, My Dinner with Andre