Describes the "As If" technique, a mnemonic device that reminds actors what the action they are doing means and feels to them personally. Discusses introducing As If to students, the As If "game," and applying it to scripted scenes. (RS)

Offer a strategy that can help make the work acting instructors do with their students as they prepare for college auditions as effective as possible. Looks at the process of finding an appropriate monologue. Established some ground rules for preparation and apply them to the monologue's development. Reviews suggestions to help students present…

Describes the compatibility between the Alexander Technique and the Stanislavsky Method. Explains the basic concept behind both acting methods. Presents ideas for incorporating both methods in classes. (PA)

Presents several exercises to be used with student actors. Notes that the exercises show how actors reach emotions through the senses and help student actors eliminate self-consciousness. (RS)

Explains the value of using movies to teach students some acting principles. Analyzes two recent films, "Crimson Tide" and "The Bridges of Madison County," and develops some acting exercises based on the two movies. Describes some of the differences and similarities between film and theater. Argues that Alfred Hitchcock's…

Gives instructions for a theater exercise that involves a student lip-synching to a song. Cautions that the presentation must be balanced equally, with attention paid to both realism in the actual lip-synching, and to how the performer gives meaning to the song. States that students generally should not try to emulate well-known performers. (PA)

Suggests that a director who remembers what it was like to be a beginner is better equipped to help students separate craft from impulse than one who has not been on stage. Discusses starting on time, playing games, teaching focus, giving notes honestly, and using resistance. (RS)

Describes how a theatre educator brought together her acting students and her playwriting students so that the playwrights could see their work performed and acting students see the relationships among performer, director, and playwright. Discusses matching plays to players, customizing scripts, "showtime," and adapting the project. (RS)