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The Young Actor's Handbook (The Applause Acting Series)
(Applause Acting Series). The way some introductory acting books are written, it seems that a literal leg break is your best option. In The Young Actor's Handbook , Jeremy Kruse, an actor, writer, producer, and director who teaches method acting, acting for camera, improvisation, and sketch comedy at The Lee Strasberg Theatre and Film Institute in New York, mends this mangled genre, distilling invaluable lessons and years of experience down to a lean, mean, intuitive hundred page primer. Rather than bludgeoning the uninitiated with dense paragraphs, vague concepts, and opaque examples, The Young Actor's Handbook ignites the beginning actor's creative soul with inspirational acting exercises, acting theory, writing exercises, and insight into what it means to be an actor. This concise and pragmatic manual will guide and inform the young actor, beginning actor, novice acting teacher, or anyone who wants to understand acting through a broad and diverse survey of essential knowledge. The teachings of Richard Boleslavsky, Stella Adler, Sanford Meisner, Uta Hagen, Michael Shurtleff, Lee Strasberg, and Constantin Stanislavsky are eloquently and accessible rendered, as are basics of script analysis, camera technique, the audition mindset, agent acquisition, and the actor's life. Whether you're a curious novice, veteran acting teacher, or even an interested observer, The Young Actor's Handbook will enhance your understanding of this vast and rewarding craft.
Break a Leg!: The Kids' Guide to Acting and Stagecraft
A complete drama course for kids in a book. BREAK A LEG! teaches budding thespians everything they need to know about stagecraft and the production of performances, in home or out.
Illustrated throughout with informative how-to and candid shots of young working actors, BREAK A LEG! is as comprehensive as it is high-spirited. There are sections on body preparation, including warm-ups, stretches, and breathing exercises. Theater games, improv, miming, and other fun ways to develop technique. Important acting skills, such as voice projection, crying on command, learning accents, and staging falls and fights without getting hurt. Theperformance: analyzing scripts, building a character, what to expect from rehearsals, and overcoming stagefright. A backstage look at blocking, lighting, and other technical aspects of theater production. And for the fun of costumes and make-up, a 16-page color insert. In addition, it covers legends and lore (Why is Macbeth cursed? Why do we say "break a leg"?) and offers dozens of must-see movie recommendations. Plus, for the ambitious, talented, and just plain curious, there's advice on how to make a career of it all, with tips on agents and auditions and getting jobs in theater, film, TV, and radio.
Acting for Young Actors: The Ultimate Teen Guide
Do you know a teen that's been bitten by the acting bug? Here's just the book they need! Acting for Young Actors, aimed at teens and tweens, lets kids hone their skills and develop their craft. It begins with the five W's: WHO am I? WHAT do I want? WHY do I want it? WHERE am I? WHEN does this event take place? Sounds basic - but many young child actors are told simply to "get up there and act." This book explores each of these questions, using helpful exercises to allow young actors to work through problems of character identity and motivation. With comprehensive chapters on auditioning, rehearsal, and improvisation, plus a primer on how young actors can break into film, theater, and television, Acting for Young Actors is every kid's ticket to the big time.
Acting Is Believing: A Basic Method For Beginners
Although the materials in this book are organized in such a way as to make them practical for classroom use, they are intended for any reader who is interested in a basic approach to the art of acting; and though the book has been written with the stage actor in mind, the methods described may be used as well by the actor in any other field. The basic approach to acting is the same for the proscenium stage, theatre-in-the-round, motion pictures, television, and radio. The differences lie in the differing technical adjustments required by these various mediums. The approach here presented is based, to a considerable extent, on the methods of Stanislavski.