Analyzes a cinematic version of "Othello" starring Lawrence Olivier for its realistic interpretation of Shakespeare's drama. (RB)

Presents some guidelines to minimize the problems associated with acting organizations and responsibilities. (Author/PG)

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)

Presents a series of warm-up stretching exercises for student actors to do in a seated position. (SG)

Outlines steps in casting a play: the group should choose a piece with the group in mind; people should be shown off to their best advantage; and ageism, sexism, or racism should not enter the casting process. Performance reality should be kept in mind. (PA)

Explains L. Kuleshov's body-oriented theory of acting. Describes how actors begin their Kuleshov training with short etudes that are confined to a linear matrix. Proposes that these etudes help students understand how their bodies fit into a planimetric composition, to remain in control of their bodies when confronted with complex floor patterns,…

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…

Reexamines classical tragedy and Brechtian acting exercises in an attempt to provide revitalized strategies offering greater pedagogical focus in practical drama classes. Presents a conceptual framework called "Moments of Dignity through Epics." (SR)

Training theater is a training method similar to role playing and is used by well-established organizations. The approach is intended to help people break out of their workaday roles and tap the creative power they have within themselves. (JOW)

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)

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)