The Unlimited Actor is an exciting new paradigm in actor training. Step by step this book will guide you into sensing and controlling the body's mental, emotional, and physical energy centers. Train these "power points" to change at will and your acting range will take a quantum leap. * Boost Your Confidence * Easily Access Any Emotion * Embody Any Character on Cue

The Unlimited Sky is a book, written by Albert Schmid, that answers the question, Why did you ever get into aviation? It tells the story of the authors lifelong career in aviation from the time he took his very first flight to his experiences as naval aviator, followed by him flying as a corporate pilot. It describes his career change when he moved to the marketing and demonstrating of new airplanes for manufactures. He tells of his challenges in developing a charter business with small jets and turboprops. Through his flying experiences, he has been blessed to have met and flown a number of famous celebrities, including the Dalai Lama. Each flight is a new adventure and another story. His career encompasses fifty-four years, accruing over 27,500 hours. Someone once said, Aviation is the hardest business to get in and the toughest to leave. After retirement, Schmid chose to become a Baptist minister and has written several inspirational and devotional books.

"A remarkable piece of invention, a flight from the world of the familiar and the real into the exotic universe of dream and desire." —New York Times Book Review When a light aircraft crashes into the Thames at Shepperton, the young pilot who struggles to the surface minutes later seems to have come back from the dead. Within hours everything in the dormitory suburb is transformed. Vultures invade rooftops, luxuriant tropical vegetation overruns the quiet avenues, and the local inhabitants are propelled by the young man’s urgent visions through ecstatic sexual celebrations toward an apocalyptic climax. In this characteristically inventive novel Ballard displays to devastating effect the extraordinary imagination that has established him as one of the twentieth century’s most visionary writers.

This book is to motivate and inspire actor's to trust in their craft without feeling the fear of failure and uncertain future. In the city of dreams Mumbai, eight ordinary people gather in an acting studio to embark on a unique journey together in a creative 6 weeks drama class to see to the very bottom of their souls, and feel how the artificial intimacy of the acting class shapes their lives in substantial ways to knowing their true selves. Kalamanch is an acting studio based in Mumbai, founded by a former actress Kanika Arora, a free-spirited and supportive teacher, the group - Anant, a recently divorced, emotionally vulnerable small shop owner, Sunaina, an earnest and vibrant model, Kunal, Kanika’s charming husband and sophisticated business owner, Jheel, a posh trendy college student with a keen eye, Azim, a focused and a privy individual owning small coffee shop, Ragini, a raging bull and a bold feminist sales executive and Hiten, an over smart loud personality full of lust and a die hard salman bhai fan -- move through a series of acting exercises, ranging from the heartbreaking to the ridiculous. The story unfolds exclusively through the games and exercises these characters take part in. Each character has a personal trauma or demon and the games they play brings the problem to the surface and the characters are forced to confront them. Characters make terrible realizations about each other and their own lives which draws some closer and some away from each other. By the end we seem to see to the very bottom of these souls, and feel how the artificial intimacy of the acting class has shaped their lives in substantial ways. This book gives reveals the vulnerability of each character and makes us delve into their lives to know their inner life. It also has the nuance of making people aware of the art of acting and what it takes to be an actor.

In these enlightening and eye-opening conversations, the renowned spiritual mentor, Sister BK Shivani reveals how to create a life of joy, contentment and bliss, because we all have the choice and the power to do so. According to her, the reason why there is so little happiness in the world is dependency. Happiness is not dependent on ‘anything’ or ’anyone’, or found ‘anywhere’. We keep delaying our happiness until things are just right in our life. We think we will be happy in the future and then wonder why we are not happy now. Happiness is only possible when we are able to accept everyone as they are, at every moment, in every situation. This book is a medium for the awakening and acceptance of self-responsibility. Helping us choose our thoughts and feelings aligned with our true nature of purity, peace and love. To make us shift from asking to sharing; from holding on to letting go; from expectations to acceptance; from the past and the future to being in the now. Happiness is a ‘decision’, not a ‘consequence’.

Love Engineering is after book micro concept, my second book, so that micro concept knowledge is adopt, living in the macro concept world “wicked soul, righteous soul, mind and body” so then, righteous soul doing real love which mission tools from righteous soul living in destination place creator, righteous soul doing real love meet a lover in the macro concept world, so that righteous soul living doing real love of wicked soul of lover, creating righteous soul and safe returning to the righteous soul living in destination place.

American filmmaker John Cassavetes (1929-1989) made only nine independent films during a quarter century, but those films affected the cinema culture of the 1960s to the 1980s in unprecedented ways. With a close nucleus of actors and crew members on his team, including his wife Gena Rowlands, Peter Falk, and Ben Gazzara, Cassavetes created films that explored the gritty side of human relationships. He staunchly advocated the right of actors and filmmakers to full artistic freedom over their work. Attracting both fervent admirers and harsh critics, Cassavetes's films have garnered prestigious awards in the US and Europe and continue to evoke strong reactions. Starting in New York with his first film Shadows (1959), Cassavetes moved on to the West Coast with Faces (1968), Husbands (1970), Minnie and Moskowitz (1971), A Woman Under the Influence (1974), The Killing of a Chinese Bookie (1976), Opening Night (1977), Gloria (1980), and Love Streams (1984). He also directed several studio films, which often rankled his independent streak that rebelled against a loss of artistic freedom. Cassavetes's work in the theater and his performances in numerous television programs and films, including The Dirty Dozen (1967) and Rosemary's Baby (1968), made him, as a director, fiercely protective of his actors' right to self-expression. Cassavetes's contributions to film as actor, writer, director, producer, and cinematographer at a time of radical changes in cinema history continue to inspire independent filmmakers to challenge creative restrictions and celebrate actors' artistic contributions. John Cassavetes: Interviews captures this "maverick" streak of an intensely personal filmmaker who was passionate about his art.

Written by a highly influential post-Stanislavskian practitioner, this book offers an accessible and contemporary interpretation of The Method, setting out techniques and exercises to train and develop actors today. Going back to the roots of Method Acting and the work of Lee Strasberg and Stanislavski, and using Barrouk's own unique practice as a lens through which to view it, The Method here is refreshed as something nuanced, contemporary, safe and practical that will benefit all actors - even those most skeptical of it. Through making a case for the relevance of Method Acting to our modern times and preserving its essence while updating its notions, the book covers the full range of the acting process, including character analysis questions, active analysis, actions, individual and group exploration, identifying actions, and developing/creating a scene in rehearsal. Practical exercises and activities are woven throughout the text, offering a modern framework in which to consider this practice. The benefits of looking at Stanislavski through both a contemporary and a different cultural lens is invaluable for students and actors alike, and they will appreciate the playful, lively and provocative approach in contrast to the sacred tone of other books on the same topic.

Yves Charles Zarka shows you how Hobbes established the framework for modern political thought. Discover the origin of liberalism in the Hobbesian theory of negative liberty; that Hobbesian interest and contract are essential to contemporary discussions of the comportment of economic actors; and how state sovereignty returns anew in the form of the servility of the state. At the same time, Zarka controversially argues against received readings claiming that Hobbes is a thinker of a state monopoly on legitimate violence.

Conklin's thesis is that the tradition of modern legal positivism, beginning with Thomas Hobbes, postulated different senses of the invisible as the authorising origin of humanly posited laws. Conklin re-reads the tradition by privileging how the canons share a particular understanding of legal language as written. Leading philosophers who have espoused the tenets of the tradition have assumed that legal language is written and that the authorising origin of humanly posited rules/norms is inaccessible to the written legal language. Conklin's re-reading of the tradition teases out how each of these leading philosophers has postulated that the authorising origin of humanly posited laws is an unanalysable externality to the written language of the legal structure. As such, the authorising origin of posited rules/norms is inaccessible or invisible to their written language. What is this authorising origin? Different forms include an originary author, an a priori concept, and an immediacy of bonding between person and laws. In each case the origin is unwritten in the sense of being inaccessible to the authoritative texts written by the officials of civil institutions of the sovereign state. Conklin sets his thesis in the context of the legal theory of the polis and the pre-polis of Greek tribes. The author claims that the problem is that the tradition of legal positivism of a modern sovereign state excises the experiential, or bodily, meanings from the written language of the posited rules/norms, thereby forgetting the very pre-legal authorising origin of the posited norms that each philosopher admits as offering the finality that legal reasoning demands if it is to be authoritative.