Saying Seeing And Acting

Our use of spatial prepositions carries an implicit understanding of the functional relationships both between objects themselves and human interaction with those objects. This is the thesis rigorously explicated in Saying, Seeing and Acting. It aims to account not only for our theoretical comprehension of spatial relations but our ability to intercede with efficacy in the world of spatially related objects. Only the phenomenon of functionality can adequately account for what even the simplest of everyday experiences show to be the technically problematic, but still meaningful status of expressions of spatial location in contentious cases. The terms of the debate are established and contextualised in Part One. In the Second Section, systematic experimental evidence is drawn upon to demonstrate specific covariances between spatial world and spatial language. The authors go on to give an original account of the functional and geometric constraints on which comprehension and human action among spatially related objects is based. Part Three looks at the interaction of these constraints to create a truly dynamic functional geometric framework for the meaningful use of spatial prepositions. Fascinating to anyone whose work touches on psycholinguistics, this book represents a thorough and incisive contribution to debates in the cognitive psychology of language.

The Invisible Actor presents the captivating and unique methods of the distinguished Japanese actor and director, Yoshi Oida. While a member of Peter Brook's theatre company in Paris, Yoshi Oida developed a masterful approach to acting that combined the oriental tradition of supreme and studied control with the Western performer's need to characterise and expose depths of emotion. Written with Lorna Marshall, Yoshi Oida explains that once the audience becomes openly aware of the actor's method and becomes too conscious of the actor's artistry, the wonder of performance dies. The audience must never see the actor but only his or her performance. Throughout Lorna Marshall provides contextual commentary on Yoshi Oida's work and methods. In a new foreword to accompany the Bloomsbury Revelations edition, Yoshi Oida revisits the questions that have informed his career as an actor and explores how his skilful approach to acting has shaped the wider contours of his life.

Sanford Meisner was one of the best known and beloved teachers of acting in the country. This book follows one of his acting classes for fifteen months, beginning with the most rudimentary exercises and ending with affecting and polished scenes from contemporary American plays. Written in collaboration with Dennis Longwell, it is essential reading for beginning and professional actors alike. Throughout these pages Meisner is a delight—always empathizing with his students and urging them onward, provoking emotion, laughter, and growing technical mastery from his charges. With an introduction by Sydney Pollack, director of Out of Africa and Tootsie, who worked with Meisner for five years. "This book should be read by anyone who wants to act or even appreciate what acting involves. Like Meisner's way of teaching, it is the straight goods."—Arthur Miller "If there is a key to good acting, this one is it, above all others. Actors, young and not so young, will find inspiration and excitement in this book."—Gregory Peck

(Applause Books). A master actor who's appeared in an enormous number of films, starring with everyone from Nicholson to Kermit the Frog, Michael Caine is uniquely qualified to provide his view of making movies. This revised and expanded edition features great photos, with chapters on: Preparation, In Front of the Camera Before You Shoot, The Take, Characters, Directors, On Being a Star, and much more. "Remarkable material ... A treasure ... I'm not going to be looking at performances quite the same way ... FASCINATING!" Gene Siskel

Respect for Acting "This fascinating and detailed book about acting is Miss Hagen's credo, the accumulated wisdom of her years spent in intimate communion with her art. It is at once the voicing of her exacting standards for herself and those she [taught], and an explanation of the means to the end." --Publishers Weekly "Hagen adds to the large corpus of titles on acting with vivid dicta drawn from experience, skill, and a sense of personal and professional worth. Her principal asset in this treatment is her truly significant imagination. Her 'object exercises' display a wealth of detail with which to stimulate the student preparing a scene for presentation." --Library Journal "Uta Hagen's Respect for Acting . . . is a relatively small book. But within it, Miss Hagen tells the young actor about as much as can be conveyed in print of his craft." --Los Angeles Times "There are almost no American actors uninfluenced by Uta Hagen." --Fritz Weaver "This is a textbook for aspiring actors, but working thespians can profit much by it. Anyone with just a casual interest in the theater should also enjoy its behind-the-scenes flavor." --King Features Syndicate

Aspiring film and television actors will discover exercises for relaxing the face to achieve maximum expressiveness; maintaining proper eye focus in front of the camera and conveying the "beats" of a scene, even in the shortest takes. They'll also learn tested techniques for adapting to the styles of different directors; modulating voice and breath for maximum effect; preparing for the first day on the set; enduring multiple takes and on-the-set waiting; and much, much more. For any performer who intends to make a living in front of the camera, Acting for Film is the most authoritative resource!

Those interviewed address artistic challenges in the real world, the practical difficulties of a career, and the ways the modern entertainment industry shapes an actor's artistic path.

Dozens of books on acting exist, but none of them are quite like this. On Acting and Life provides both insightful acting advice and the memoir of an acclaimed actor of both stage and screen. Modelled after Stephen King’s bestseller, On Writing, the book is divided into two parts. Part one takes readers on a seventy-year journey that begins with William B. Davis, at age twelve, riding his bicycle through the streets of Toronto to his first acting classes, and eventually leads to him starring in the long-running television series, The X-Files. From a summer theatre in Ontario to the National Theatre of Great Britain to the National Theatre School of Canada to the William Davis Centre for Actors’ Study in Vancouver, few have achieved such a colourful journey. Along the way, Davis met all sorts of familiar faces, including Donald Sutherland, Brian Cox, Albert Finney, Laurence Olivier, Maggie Smith, David Duchovny, and Gillian Anderson, among others. Although there is a lot about acting in part one, the heart of the book for an aspiring or working actor is in part two. What has Davis learned in seventy years of working both in the theatre and in film and television? A lot, as you will see. Davis’ grasp of the art of acting is vast and practical. And in some ways, original. In his final chapter, Davis explores the underlying philosophy of acting and actor training and argues for bringing the work in to the twenty-first century.

(Applause Books). Stella Adler was one of the 20th Century's greatest figures. She is arguably the most important teacher of acting in American history. Over her long career, both in New York and Hollywood, she offered her vast acting knowledge to generations of actors, including Marlon Brando, Warren Beatty, and Robert De Niro. The great voice finally ended in the early Nineties, but her decades of experience and teaching have been brilliantly caught and encapsulated by Howard Kissel in the twenty-two lessons in this book.