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Truth
I first met Susan Batson in New York just a week before I made Peacemaker. We worked together in earnest for two years on Eyes Wide Shut in London and on every film I've done since, wherever they've taken us. This book you hold is called Truth, and that title precisely describes the core of the work Susan Batson and I do together. I can't create unless I have truth-I have to feel it. Susan helps me to find the truth in myself and use its purity, intimacy, and honesty to make my work real. She's helped me to nurture and protect truth in myself and in the characters that I've played. What I've learned from Susan is how to keep the truth alive no matter what. There's so much more to acting than...
Sorrow Is the Only Faithful One
A luscious read for fans of several genres, James Hatch's biography of Owen Dodson is the story of a gifted poet, novelist, educator, and director whose life was a lonely struggle with arthritis, alcohol, racism, and homophobic prejudice.
Truth
Stanislavski, Strasberg, Meisner, Adler, Berghoff, Hagen, Mamet . . . now Batson. In TRUTH, the most sought after acting guru in Hollywood and on Broadway distills her half century's experience as an actor, director, teacher, and personal coach into a step by step process for creating a character from first read-through to final performance. Debunking a century's worth of myths about "method acting," Batson identifies the unifying forces of Need, Public Persona, and Tragic Flaw to unite the actor with his or her character. TRUTH shows how actively defining and understanding these three principles leads to the most truthful performances possible. A must-read for beginning actors, a wake-up call for working actors, and an indispensable reference for writers, TRUTH reveals the inner game of telling stories and creating vivid, three-dimensional life from words on a page.
Attention Will Be Paid
100 original monologues with Backstories, Preparations, Personalizations, Emotional Sense Memories, and Sensory Conditions
Jet
The weekly source of African American political and entertainment news.
Naming the Shadows
Naming the Shadows is the first book to offer practitioners and students-in-training an in-depth exploration of a trauma-focused approach to individual and group psychotherapy that respects scientific rules. Drawing on the authors' own innovative research, on the widespread experience of colleagues, and on vivid dialogue from survivors themselves, Naming the Shadows has important implications for our understanding of the process of coping with childhood sexual abuse.
Squeeze in a Pinch
The bleachers at the school athletic field are broken and there's a little league game that afternoon. Squeeze hurts Manny's finger during the repair and she's convinced that she's a danger to all around her. She won't continue with the repair. Manny explains that everyone makes mistakes. The rest of the tools chime in and share their mistakes. In the end, Squeeze successfully helps with the repair without any additional injuries and Manny is asked by the team's coach to become their team sponsor. Handy Manny features the humorous adventures of Manny Garcia, the best darn handyman in his diverse community. Manny and his eclectic group of talking tools work together to fix objects, help neighbors, and show preschoolers how to conquer everyday problems.
The Bodies We Are (Not)
In Western neo-liberal society, the human body is increasingly used as an »identity project« and »designable object«. Antje Velsinger investigates these specific roles of the body and develops choreographic strategies for becoming unfamiliar to the own self and play as two means for emancipating the body from the neo-liberal imperative of optimization and control. Theoretical and practical artistic perspectives are in constant dialogue throughout this study. It uses the choreographic field as a gray area between theory and practice to imagine, propose, and rehearse an alternative approach to the body.
What We Say, who We are
In What We Say, Who We Are: Leopold Senghor, Zora Neale Hurston, and the Philosophy of Language, Parker English explores the commonality between Leopold Senghor's concept of "negritude" and Zora Neale Hurston's view of "Negro expression." For English, these two concepts emphasize that a person's view of herself is above all dictated by the way in which she talks about herself. Focusing on what he identifies as "performism," English discusses the presentational/representational and externalistic/internalistic facets of "performism" as they relate to the ideas of Senghor and Hurston. English ends his work by closely examining Hurston's Their Eyes Were Watching God in light of his discussion of "performism," and draws new, intriguing conclusions about the extent to which Hurston's main character exemplifies W.E.B. DuBois's concept of double-consciousness. What We Say, Who We Are will certainly pique the interest of scholars interested in Africana studies, African-American literature, and the philosophy of language.
The Existential Actor
This is a book for the thinking actor, and the finest actors I've known are just that. The best actors bring it all together body, heart, spirit, and mind. This book is for the actor who thinks about craft and influence, who thinks about the relationship of performance to living, who thinks about doing and what that doing means. Acting is a metaphor and it's a mirror, and, so, a theory of acting, if true, shows us to ourselves. Jeff Zinn knows this. He knows it as an actor, director, teacher, and thinker. His theory of everything is simple and revelatory. (from the foreword by Todd London)
