Lists the top ten acting ailments often encountered in student actors, and offers advice to cure these ailments: the split personality, the beauty queen and the leading man, the comedian, the director in training, the moody one, the character-clueless, the loner, the mimic, the stage-frightened, and the opening night artist. (SR)

Argues that teachers need to reinforce the idea that the successful actor's first step in the process of finding and developing a character is to understand the script. Includes the script for a 10-minute play, Christopher Graybill's "Go Look." Presents a close study of the script. (RS)

Rejects the thesis that an uncanny matchup of literary characters with their visual doubles made "The Maltese Falcon" a success. (RB)

Discusses the casting of small roles in television's dramatic series in terms of social stereotyping. Information is based on interviews with writers, producers, directors, casting directors, and talent agents. (JMF)

A survey of approximately 450 novice Shakespearean actors was undertaken to determine what could be learned from a careful study of the initiation of new performers acting Shakespeare that might be helpful to others. The findings revealed that the typical initiate perceives acting Shakespeare as different from other acting, indicates a definite…

Focuses on the traditional comic acting style that prevailed in England from 1820 to 1840 by examining the acting of the commedienne whose sixty-year career spanned the first half of the century. (MH)

Examines some of the different representational practices of acting in the context of a theory of signs. Focuses on the intrinsic characteristics of signs and the representational practices of acting. Discusses the contributions of Stanislavsky and Brecht to this area. (JMF)

Traces the Stanislavski system for realism in acting from its origin within Moscow Art Theater, through its modification by Lee Strasberg and Elia Kazan in the Actor's Studio, to its use in modern American films. (JMF)

Note that the exercise, Roll Call, is designed to demonstrate that character is most effectively and reliably created through a careful selection and execution of actions, not by magically inhabiting a character. Concludes that by the end of this sequence of exercises, students should have a better understanding of how character can be created…

Laments the narcissism that the author sees in too many contemporary approaches to acting and directing. Argues that actors must focus on the world outside themselves, where the play and the audience most need them to be. (SR)

Describes an exercise for a beginning acting class at the outset of a semester that demonstrates, reiterates, and clarifies some of the fundamental points of acting craft. (SR)

An organic approach to style in acting can lend credibility and power to performances and can enhance the clarity and extent of what is communicated to audiences about other social worlds. The organic approach is based on the following principles: mental experience and expressive behavior are inseparable and reciprocal; experience in either mode…

Examines the nature of imagination and creativity in the acting process. Argues that successful acting is the ability to extend the imagination into the creative act of developing a role and building a character. Discusses specific ways a theater educator inspires creativity in actors. (RS)

Describes a project to help student actors "get into character" thoroughly and empathetically. Notes that 10th, 11th, and 12th graders interviewed many people in a conflict-ridden school community, recorded and transcribed the interviews, took notes on interviewees' gestures and characteristics, and represented those people as faithfully…

The acting career of Alla Nazimova in America is examined, with particular reference to technique and style, which are shown to be nothing more than her personality. The suggestion that her belief and practice was rooted in Stanislavsky's principles is examined and refuted. (JF)