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…

Presents 13 improvisation exercises offered by 5 teachers. (SR)

Discusses the unpacking of the term "creativity," hindrances to the execution of creativity, and eight specific teaching techniques that enable the advanced actor to focus all of his/herself into integrated action toward and into an integrated response. (RS)

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)

Discusses the "mirror game," a classic acting exercise that gets young actors to understand that connecting to their scene partners is a crucial part of acting. Describes the learning opportunities offered by the mirror game, describes how to initiate it in class, and how to add challenges to the exercise. (SR)

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)

Argues that teachers and directors should teach their students how to audition. Offers tips, explanations, and observations regarding selection of material, preparation, appearance, making contact, and other advice. (SR)

Presents an acting lesson intended to teach students to remain focused on character objectives while retaining the spontaneity that is key to producing believable acting. Suggests that three students act out a set situation while the rest of the class watches, and describes the process of critique after the lesson is complete. (PA)

Presents two exercises to develop the concept of story for the actor. Suggests that, without awareness of story, an actor will not be able to present the play's story effectively. Describes the first exercise as taking an imaginary shower (with clothes on) and the second exercise as a group shower. Notes that props are not used. (PA)

This collection of 55 original concise monologs for teenage boys and girls to perform require no special settings and minimal props and costumes. The monologs in the collection are intended for use in speech competitions, variety shows, auditions, the classroom, and as discussion starters. The collection is divided into monologs for girls,…

Stresses the importance of teaching acting students how to audition. Describes course content and activities, including a trip to New York City to make audition rounds. (PD)

Explores acting in the lives of teens and urges teachers to consider acting as a "way in" to young adult literature for students. Proposes many ways of using acting in the reading of literature. (SR)

Explains that the exercise "Pictures at an Exhibition" is designed to remind student actors of their responsibilities to the script and audience while simultaneously giving them a chance to employ the basic tools of the acting craft. Presents the activity in two rounds: (1) what do you see? and (2) painting by the numbers. (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)

Designed for workshop or classroom use, this collection of short plays for two actors is a source of material for auditions and readings and a valuable training tool for acting classes. The collection contains plays for men only, plays for women only, plays for men and women, plays with a wide variety of roles, plays of comedy and serious drama,…