A holistic approach to acting. This book presents acting as a mind, body and spirit practice and actors as emotional athletes, spiritual stuntmen and stuntwomen exposed to a constant roller coaster of emotions. Going beyond where Michael Chekhov left off, it offers new acting techniques using discoveries from holistic and energy healing modalities. Answering an urgent -yet never addressed-need, this book offers invaluable tools to heal post-performance stress disorder and cutting edge information about recovering your Highest Creative Self, the essence of your character, and true emotional balance. Lisa Dalton, Co-founder, International Michael Chekhov Association, Award-Winning Actor/Producer/Director and Co-founder and Certifying Board, National Michael Chekhov Association wrote the Foreword. She says: "It is rare to find a subject that urgently needs to be discussed and about which too little is written. The need to train the entire being of the performing artist is just such a subject. Emmanuelle Chaulet's A Balancing Act is a godsend to performing artists of any sort. Knowing how to Energize allows us to endure and even thrive during the rise and fall, the constant state of transformation, the juggling of feelings, styles, jobs, and colleagues while maintaining an even keel." "Truly some of the freshest and most innovative 21st century contributions to the art of acting." says Mel Shrawder NYC AEA/SAG actor, Former Head of Performance, University of Miami, and faculty at the Michael Chekhov Acting Studio in NYC.

Contains the best account of the theatre of his day and is an invaluable study of the art of acting as it was practiced by his contemporaries.

This collection offers a groundbreaking study of Thomas Heywood's fascinatingly individual engagement with the classics across his writing career. It considers the wide diversity of genres to which he contributed, including dramas, translations, compendia, and iconographical designs, and attends to the shaping role of classics in his authorial self-fashioning and idiosyncratic aesthetic.

In the aftermath of the massacre of a clan, an epic story of self-sacrifice and revenge unfolds as a young orphan discovers the shattering truth behind his childhood. Sometimes referred to as the Chinese Hamlet and tracing its origins to the 4th century BC, The Orphan of Zhao was the first Chinese play to be translated in the West. James Fenton's adaptation of The Orphan of Zhao premiered with the RSC at the Swan Theatre, Stratford-upon-Avon in November 2012.

Intense interest in past injustice lies at the centre of contemporary world politics. Most scholarly and public attention has focused on truth commissions, trials, lustration, and other related decisions, following political transitions. This book examines the political uses of official apologies in Australia, Canada, New Zealand, and the United States. It explores why minority groups demand such apologies and why governments do or do not offer them. Nobles argues that apologies can help to alter the terms and meanings of national membership. Minority groups demand apologies in order to focus attention on historical injustices. Similarly, state actors support apologies for ideological and moral reasons, driven by their support of group rights, responsiveness to group demands, and belief that acknowledgment is due. Apologies, as employed by political actors, play an important, if underappreciated, role in bringing certain views about history and moral obligation to bear in public life.

O.K. You Mugs is a smart and stylish anthology of original writings on character actors--some famous, others not--who have left indelible marks on the movies and on our imaginations. Geoffrey O'Brien on Dana Andrews, Patti Smith on Jeanne Moreau, John Updike on Doris Day, Patricia Storace on Madhur Jaffrey, Dave Hickey on Robert Mitchum, Jacqueline Carey on Margaret Dumont, Greil Marcus on J. T. Walsh, Linda Yablonsky on Thelma Ritter--these are only a few of the twenty-six pairings of writer and actor included here, each one wickedly insightful and warmly appreciative. As Luc Sante (who profiles a "rogues' gallery" that includes Leo G. Carroll, Wallace Beery, and Nick Adams) and Melissa Holbrook Pierson (whose subject is Warren Oates) write in their preface: "As they reappear in one film and then another, it is as if they are returning in our very dreams: these characters take on character." In these lively and provocative essays, we are reminded in new and revelatory ways about what made these actors live so vividly on the screen. Wonderfully engaging, O.K. You Mugs is a singular contribution to the literature of film history and appreciation.