Acting (Re)Considered: A Theoretical and Practical Guide by Phillip B. Zarrilli

By Phillip B. Zarrilli

Performing (Re)Considered is a really wide-ranging selection of theories on appearing, rules approximately physique and coaching, and statements concerning the actor in functionality. This moment version contains 5 new essays and has been absolutely revised and up-to-date, with discussions via or approximately significant figures who've formed theories and practices of appearing and function from the overdue 19th century to the present.
The essays - by way of administrators, historians, actor running shoes and actors - bridge the space among theories and practices of performing, and among East and West. No different e-book presents one of these wealth of basic and secondary resources, bibliographic fabric, and variety of ways. It contains discussions of such key themes as:
* how we predict and discuss acting
* appearing and emotion
* the actor's psychophysical process
* the physique and training
* the actor in performance
* non-Western and cross-cultural paradigms of the physique, education and acting.
Acting (Re)Considered is key analyzing for all these attracted to functionality.

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Additional info for Acting (Re)Considered: A Theoretical and Practical Guide (Worlds of Performance)

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At least four actors played each role. The actors’ approach to sharing roles required that they develop not only their own version of the character but also a “collective” character. “Playing” The Maids meant that sometimes one actor “passed” the role of Solange on to another stage and actor – requiring the ability to “give” the role to another actor. These and other conventions obviously made specific demands on the actors which were very different from the demands of playing a character in a realist production.

Birth. Parts lips and thrusts tongue between them. Tip of tongue. Feel soft touch of tongue on lips. Of lips on tongue. (Beckett 1984: 267–8). As Beckett said of James Joyce’s work, concerns with pattern, form, and detail make such acting “not about something . . [but] that thing itself” (quoted in Kalb 1989: 3). Form becomes content; content is form. But as I have described here (Chapter 15) and elsewhere (Zarrilli 1997), the actor must develop a psychophysical process, tactics, and mode of engaging images different from most approaches to character acting in order to fulfil the rigorous demands of an embodied inhabitation of form and content.

Certain speeches in plays call for a high degree of self-expressiveness (the opening of Richard III, Hotspur’s Popinjay speech, Mercutio’s Mab speech). In this sense, opera, dance, and mime are the major self-expressive forms of theatre. Whatever they are about is always less important than what they display. The best-known example is the opera soprano who is not expected to “disappear” into her role as a dying tubercular because it is impossible to sing properly and die properly at the same time.

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