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In 1986, Peter Gill, the then director of the National Theatre Studio, sent a group of young actors to interview their seniors about speaking on stage. Actors interviewed include Alec Guinness, Rex Harrison, Robert Stephens, Harry Andrews, and Margaret Tyzack, with notes from John Gielgud and an introduction by Peter Gill himself.

21.0 x 14.0cms, approx 5000pp, cloth hardcover (no dustwrappers) slight discolouration by blue dye & slightest sign of a bumped edge otherwise fine. These volumes have 4,100 biographical entries of deceased or inactive theatre people.

Addresses the challenge faced by Shakespearan actors to deliver his words as they were intended as well as in an understandable and dramatically effective manner, offering advice on dramatic resonance, breathing, and placement.

Classically Speaking offers an approach for actors who wish to learn Neutral American Speech, and develop the skills necessary to adjust their speech to the particular demands of a wider range of characters and texts. The extensive Neutral American section could serve English speakers from countries other than the Us, including those from Canada, Australia, New Zealand, South Africa, Ireland and Great Britain, as well as advanced speakers of English as a Second Language (Esl) from around the globe. Classical American, Mid-Atlantic and Standard British dialects are also covered. An audio download link to more than 300 sound demonstrations and a dozen monologues recorded by professional actors is also included.

Dudley Knight is one of the most respected voice and speech teachers in North America and highly regarded internationally. Janet Madelle Feindel - Associate Professor of Voice and Alexander, Carnegie Mellon University.Speaking with Skill marks a fundamental change in the pedagogy of speech training for actors and speakers. It presents a skills-based approach to speech training and offers a wider range of techniques and a more integrated approach to speech actions and phonetic transcription than are found in other speech texts for theatre. Speaking with Skill reintegrates speech training with the allied fields of linguistics and voice science and represents the first serious reexamination of the archaic standards and pedagogy that have dominated speech training for actors and other professional speakers in America. The method employed in this book is already and increasingly being used by instructors on major actor training programs in the United States, Canada, Australia, Ireland and the UK.

Untangling the logical, lexical, and semantic patterns of the multiple official speeches of Indian prime ministers, Speaking the Nation gauges how the Indian state has been projected by different governments in different times, in the face of challenges from internal and external actors that put pressure on its leaders to safeguard their status as legitimate elites in power. It analyses how Indian nationhood is consistently reshaped and reaffirmed by invoking its secular ethos and practice, as well as the experience of market liberalization. The book calls for serious engagement with political oratory in India. A close reading of speeches since 1991--from Narasimha Rao to Narendra Modi--captured how, through these crosscutting topics, the prominent 'authors of the nation' and the 'vanguards of the state', speak India into being.

Classically Speaking offers an approach for American actors who wish to explore sound beyond their habitual speech, fine-tune their ability to hear and identify subtle variations in sounds and dialects, and to develop the flexibility and skills necessary to adjust their speech to the particular demands of a wider range of characters and material. Neutral American Speech (NAS) is the most practical dialect an actor can study. Sometimes referred to as General American, it is spoken without regionalisms that identify an actor's specific point of origin or 'home' sounds. When effectively incorporated, the actor - and therefore the character - is not revealed as explicitly Southern, Mid-Western, or from Boston, New York, Chicago, Tennessee, New Hampshire, Texas, etc. He/she is therefore 'neutral'. The Neutral American section gives special focus to the Rhythm Highlighters, which address general rhythmic issues for well-spoken American English, before delving into the specific spoken sounds of English in detail. Classical American dialect offers an intermediate option between well-pronounced Neutral American and Standard British. It builds upon Neutral American, blending additional rhythmic and sound elements, which result in more formal or heightened speech without sounding British to an American ear. Standard British (RP), the dialect traditionally spoken by the English upper and upper-middle classes, is appropriate for characters in period plays, those of the 19th century authored by Shaw and Wilde, or Restoration playwrights Congreve and Farquhar, among others. It is also beneficial for American actors to know Standard British as a foundation on which to build their study of foreign accents. Many people worldwide who have learned English as a second language have been taught by speakers of Standard British, and this is reflected in their spoken English sounds.

Even if she hadn't married Tony Blair, Cherie's story would have been amazing. Abandoned by her actor father, she overcame obstacles to become one of the UK's most successful barristers. But when Labour took power in 1997, she faced new challenges: her husband was the first Prime Minister in recent history with a young family, and Cherie was the first PM's wife with a serious career. Now, she gives a complete account of her own life--an astonishing journey for a woman whose unconventional childhood was full of drama and who grew up with a fierce sense of justice. In her autobiography she reveals for the first time what it was like to combine life as a working mother with life married to the Prime Minister. She writes about her encounters with scores of foreign leaders and her friendships with Presidents Clinton and Bush, as well as with Hillary and Laura. And she offers inside details of her relationships with the royals, including Queen Elizabeth, Prince Charles, and Princess Diana.

An actor prepares is the most famous acting training book ever to have been written and the work of stanislavski has inspired generations of actors and trainers this translation was the first to introduce stanislavskis system to the english speaking world and has stood the test of time in acting classes to this day stanislavski here deals with the inward preparation an actor must undergo in order to explore a role to the full he introduces the concepts of the magic if units and objectives, of emotion memory, of the super-objective and many more now famous rehearsal aids now available in the bloomsbury revelations series to mark the 150th anniversary of stanislavskis birth, this is an essential read for actors, directors and anyone interested in the art of drama

The Actor and His Text is a direct extension of Cicely Berry's first book, Voice and the Actor. It sets out to apply the methods of voice production directly and practically to the speaking of text. Specifically, it addresses the problem of how to infuse life and meaning into words that are first encountered on the printed page. While the greater part of her book is about the speaking of Shakespeare, Cicely Berry also includes the speaking of modern plays, such as those of Davis Rudkin and Edward Bond. She expands, too, on the exercises given in Voice and the Actor which help to develop relaxation, breathing and muscular control.

At Last! A practical handbook for Shakespearean Performance. The bard wrote the world's greatest verse plays. Almost all of them are performed or read as prose—by default, not by decision. This is a tragic waste but it is fixable. THIS BOOK HAS TWO GOALS: - to persuade you that the great rewards of verse speaking and reading are worth much more than the modest effort required to master them - to provide the information and guidance needed to lead you down this path Use this book and experience the music of Shakespeare as never before. Believe it! Praise for Shakespeare's Verse The book is terrific. Shakespeare's Verse: A User's Manual is an essential text for the actor and director; a comprehensive and persuasive method for tackling the challenge of speaking Shakespeare. Roger Gross' lifelong love of Shakespeare is evident on every page as is his musician's ear. The result is an easy-to-understand, lively and most important, practical guide. ~ Michele Gallery, two-time Emmy Award winner. ***** Roger Gross brings his long history of directing Shakespeare both professionally and academically, as well as his years of scholarship, to his very readable, very practical guide to speaking Shakespeare's verse. It's a treasure trove of information and advice for lovers of Shakespeare at every level. ~ Dakin Matthews, Actor, Scholar and Producer. ***** This book is a wonder! Written in such a straightforward—almost conversational—style that no reader can possibly be inhibited by the material. It is delightfully short yet manages to be absolutely comprehensive. ~ Dr. Robert Barton, author of the popular book Acting: Onstage and Off and seven others.

An Actor's Craft is a handbook for acting students that provides critical approaches and guidance. Speaking passionately about the art of acting, David Krasner illuminates the multifaceted job of an actor. Combining technique with personal examples, he demonstrates how to achieve excellence in performance, how to recognize quality acting, and how to use the technique of acting in an advanced way.

"Speaking is part of a whole: an expression of inner life." Cicely Berry has based her work on the conviction that while all is present in nature our natural instincts have been crippled from birth by many processes--by the conditioning, in fact, of a warped society. So an actor needs precise exercise and clear understanding to liberate his hidden possibilities and to learn the hard task of being true to the 'instinct of the moment'. As her book points out with remarkable persuasiveness 'technique' as such is a myth, for there is no such thing as a correct voice. There is no right way--there are only a million wrong ways, which are wrong because they deny what would otherwise be affirmed. Wrong uses of the voice are those that constipate feeling, constrict activity, blunt expression, level out idiosyncrasy, generalize experience, coarsen intimacy. These blockages are multiple and are the results of acquired habits that have become part of the automatic vocal equipment; unnoticed and unknown, they stand between the actor's voice as it is and as it could be and they will not vanish by themselves. So the work is not how to do but how to permit: how, in fact, to set the voice free. And since life in the voice springs from emotion, drab and uninspiring technical exercises can never be sufficient. Cicely Berry never departs from the fundamental recognition that speaking is part of a whole: an expression of inner life.. After a voice session with her I have known actors speak not of the voice but of a growth in human relationships. This is a high tribute to work that is the opposite of specialization. Cicely Berry sees the voice teacher as involved in all of a theatre's work. She would never try to separate the sound of words from their living context. For her the two are inseparable. --from Peter Brook's foreword to Voice and the Actor

Cracking Shakespeare serves to demystify the process of speaking Shakespeare's language, offering hands-on techniques for drama students, young actors and directors who are intimidated by rehearsing, performing and directing Shakespeare's plays. For some artists approaching Shakespeare, the ability to capture the dynamic movement of thought from mind to mouth, and the paradox of using the formality of verse to express a realistic form of speech, can seem daunting. Cracking Shakespeare includes practical techniques and exercises to solve this dilemma – including supporting online video which demonstrate how to embody Shakespeare's characters in rehearsal and performance – offering a toolkit that will free actors and directors from their fear of Shakespeare. The result of thirty years of acting, teaching and directing Shakespeare, Kelly Hunter's Cracking Shakespeare is the ideal textbook for actors and directors looking for new ways to approach Shakespeare's plays in a hands-on, down-to-earth style.

The Voice Director of the Royal Shakespeare Company offers instruction and exercises for speaking and communicating effectively

London, 1934. Austrian actress Elisabeth Bergner dominated the British theatre scene, poet and director Berthold Viertel shot two successful films for Gaumont British; two great actors from the Weimar era, Conrad Veidt and Fritz Kortner, became well-known faces in English-speaking cinema and the Hungarian journalist Stefan Lorant launched the first ever continental-style illustrated magazine for the British newspaper market.Exploring a phase in the history of Anglo-German relations during which the émigrés from Hitler's Germany were making their influence felt in Britain, Daria Santini traces their presence in London from around 1933 to 1935 when these characters made their presence truly felt, all while the Nazi threat loomed on the horizon.

In The Right to Speak, renowned voice teacher Patsy Rodenburg teaches you how to meet any speaking challenge with total self-assurance. Rodenburg has trained thousands of actors, singers, media personalities, lawyers, politicians, business people, teachers and students in the art of using their voice fully and expressively without fear. She has taught them how to breathe, how to support their breath, how to stretch their voice to meet any vocal effort and how to have total confidence in whatever they say--"the right to speak."

The momentous encounter between Christian thought and Greek philosophy reached a high point in fourth-century Byzantium, and the principal actors were four Greek-speaking Christian thinkers whose collective influence on the Eastern Church was comparable to that of Augustine on Western Latin Christendom. In this erudite and informative book, a distinguished scholar provides the first coherent account of the lives and writings of these so-called Cappadocians (named for a region in what is now eastern Turkey), showing how they managed to be Greek and Christian at the same time. Jaroslav Pelikan describes the four Cappadocians―Gregory of Nazianzus, Basil of Caesarea, Gregory of Nyssa, and Macrina, sister and teacher of the last two―who were trained in Classical culture, philosophy, and rhetoric but who were also defenders and expositors of Christian orthodoxy. On one issue of faith and life after another―the nature of religious language, the ways of knowing, the existence of God, the universe as cosmos, time, and space, free will and immortality, the nature of the good life, the purpose of the universe―they challenged and debated the validity of the Greek philosophical tradition in interpreting Scripture. Because the way they resolved these issues became the very definition of normative Christian belief, says Pelikan, their system is still a key to our understanding not only of Christianity's diverse religious traditions but also of its intellectual and philosophical traditions.  This book is based on the prestigious Gifford Lectures, presented by Jaroslav Pelikan at the University of Aberdeen in 1992 and 1993.

Collaborative Stage Directing: A Guide to Creating and Managing a Positive Theatre Environment focuses on the director’s collaboration with actors and the creative team, and the importance of communication and leadership skills to create and manage a healthy working environment. Speaking directly to the student, this compact resource walks the aspiring director through basic principles of group dynamics, active listening, open-ended questioning, brainstorming, and motivational leadership, supported by examples and case studies offered by current professional and academic directors. With a focus on preparing the student director for resume-building opportunities beyond the studio lab, Collaborative Stage Directing challenges readers with reflective activities, a series of guiding questions to apply to three short plays, and an extensive checklist to assist them with independent directing projects. As an easy-to-use resource, Collaborative Stage Directing works as a supplement to a classic directing text or as a stand-alone guide.

Collaborative Stage Directing: A Guide to Creating and Managing a Positive Theatre Environment focuses on the director’s collaboration with actors and the creative team, and the importance of communication and leadership skills to create and manage a healthy working environment. Speaking directly to the student, this compact resource walks the aspiring director through basic principles of group dynamics, active listening, open-ended questioning, brainstorming, and motivational leadership, supported by examples and case studies offered by current professional and academic directors. With a focus on preparing the student director for resume-building opportunities beyond the studio lab, Collaborative Stage Directing challenges readers with reflective activities, a series of guiding questions to apply to three short plays, and an extensive checklist to assist them with independent directing projects. As an easy-to-use resource, Collaborative Stage Directing works as a supplement to a classic directing text or as a stand-alone guide.