Explains the Viewpoints, a technique used to focus actors' awareness on different elements of performance such as tempo, duration, gesture, and spatial relationships. Notes that this former avant-garde technique is now taught by mainstream directors. Proposes that Viewpoints is a valuable tool for the rediscovery of a production. (PM)

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…

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)

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)

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 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)

Interprets for the American reader the untranslated dramatic methods of Hans van Dam, a leading drama theorist in the Netherlands. Discusses the functions of drama as a method, closed dramatic methods, open dramatic methods, and applying van Dam's methods. (SR)

Describes an acting exercise which can be used to introduce students to Shakespeare's plays. (RB)

Describes an effective technique the author uses in college productions to combat staleness in rehearsals and to help actors make new discoveries about their roles. (PD)

Deplores the pretenders" not on the stage but in the director's role on campus. (Editor)

An American press history teacher develops student interest in his topic by masquerading as major personalities in the history of journalism. (RL)

Discusses aspects of a professional studio acting program at the university level. (PD)

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)