1st Edition

The Actor Training Reader

Edited By MARK EVANS Copyright 2015
    260 Pages
    by Routledge

    260 Pages
    by Routledge

    The Actor Training Reader is an invaluable resource for students and teachers of acting, offering access to a wide range of key texts that identify, explore, illuminate and interrogate the challenges, practices and processes involved in training the modern actor. 


    A companion volume to the highly-acclaimed Actor Training (Hodge 2010), this book collects key writings by influential actor training practitioners of the twentieth century, introduced with essays from leading academics in the field of actor training. Key practitioners included are:


    Eugenio Barba;

    Anne Bogart;

    Bertolt Brecht;

    Peter Brook;

    Michael Chekhov; and

    Konstantin Stanislavsky.


    The book sets established, widely used texts alongside less well-known ones in order to trace the development of actor training from the pioneering advances of Eastern Europe to the acting games of Augusto Boal. The texts are grouped into thematic sections rather than chronologically in order to encourage a comparison of different approaches to similar aspects of the craft. Each section will have a specially commissioned introductory essay by an expert in that area of actor training, which will bring context, critical engagement and contemporary relevance to the extracts and offer provocations for further discussion.


    Mark Evans, Coventry University, UK.


    Jacques Copeau: Rudlin, J. & Paul, N. (eds.) (1990) Copeau: Texts on Theatre

    Konstantin Stanislavsky: Stanislavski, C. (1980) My Life in Art


    The Purpose of Actor Training

    Ian Watson, Rutgers University, USA.


    Mike Alfreds: Alfreds, M. (2007) Different Every Night: Freeing the Actor

    Eugenio Barba: Barba, E. (1979) The Floating Islands

    Augusto Boal: Boal, A. (1995) The Rainbow of Desire: The Boal method of theatre and therapy

    Michael Chekhov: Chekhov, M. (1985) Lessons for the Professional Actor

    Edward Gordon Craig: Craig, E. G. (1983) Craig On Theatre

    Jerzy Grotowski: Grotowski, J. (1997) 'Performer', in Schechner, R. & Wolford, L. (eds.) (1997) The Grotowski Sourcebook,

    Jacques Lecoq: Lecoq, J. (2000) The Moving Body: Teaching creative theatre

    Yoshi Oida: Oida, Y. & Marshall, L. (1997) The Invisible Actor

    Konstantin Stanislavsky: Stanislavski, K. (2008) An Actor’s Work


    Training the Actor’s Voice and Body

    Jonathan Pitches, University of Leeds, UK.


    Antonin Artaud: Artaud, A. (1970) The Theatre and its Double

    Eugenio Barba: Barba, B. (1986) Beyond the Floating Islands

    Augusto Boal: Boal, A. (2002) Games for Actors and Non-Actors

    Moshe Feldenkrais: Feldenkrais, M. & Schechner, R. (1966) ‘Image, Movement, and Actor: Restoration of Potentiality - A discussion of the Feldenkrais Method and Acting, Self-Expression and the Theater’

    Dario Fo and Franca Rame: Fo, D. & Rame, F. (1983) Theatre Workshops at the Riverside Studios

    Jerzy Grotowski: Grotowski, J. (1969) Towards a Poor Theatre

    Rudolf Laban: McCaw, D. (ed.) The Laban Sourcebook

    Jacques Lecoq: Lecoq, J. (2006) Theatre of movement and gesture

    Kristin Linklater: Linklater, K. (1976) Freeing the Natural Voice

    Vsevolod Meyerhold: Bruan, E. (1969) Meyerhold on Theatre

    Michel Saint-Denis: Saint-Denis, M. (1982) Training for the Theatre

    Tadashi Suzuki: Suzuki, T. (1986) The Way of Acting: The theatre writings of Tadashi Suzuki

    Yevgeny Vakhtangov: Malaev-Babel, A. (ed.) (2011) The Vakhtangov Sourcebook

    Phillip Zarrilli: Zarrilli, P. (2009) Psychophysical Acting: An Intercultural approach after Stanislavski


    Character and Composition

    The Self and the Fictive Other in Creation, Rehearsal and Performance

    Bella Merlin, University of California, Riverside, USA.


    Stella Adler: Adler, S. The Art of Acting (2000)

    Eugenio Barba: Barba, E. (2010) On Directing and Dramaturgy: Burning the House

    Anne Bogart and Tina Landau: Bogart, A. & Landau, T. (2005) The Viewpoints Book

    Bertolt Brecht: Willett, J. (ed.) (1978) Brecht on Theatre: The Development of an Aesthetic

    Michael Chekhov: Chekhov, M. (2002) To The Actor

    Dario Fo: Fo, D. (1991) The Tricks of the Trade

    Jacques Lecoq: Lecoq, J. (2000) The Moving Body

    Sanford Meisner: Meisner, S. & Longwell, D. (1987) Sanford Meisner on Acting

    Odin: Christoffersen, E. E. (1993) The Actor’s Way,

    Open Theatre: Pasolli, R. (1972) A book on the Open Theatre

    Konstantion Stanislavsky: Stanislavski, K. (2008) An Actor’s Work


    Presence, Physicality, Play and Communion

    Dick McCaw, Royal Holloway University, UK.


    Peter Brook: Brook, P. (1993) There Are No Secrets: Thoughts on Acting and Theatre

    Joseph Chaikin: Chaikin, J. (1991) The Presence of the Actor

    Jacques Copeau: Rudlin, J. & Paul, N. (eds.) (1990) Copeau: Texts on Theatre

    Philippe Gaulier: Gaulier, P. (2006) The Tormentor: le jeu, light, theatre

    Keith Johnstone: Johnstone, K. (1981) Impro: Improvisation and the Theatre

    Jacques Lecoq: Lecoq, J. (2006) Theatre of Movement and Gesture

    Joan Littlewood: 'Working with Joan: Theatre Workshop actors talking to Tom Milne and Clive Goodwin'

    Ariane Mnouchkine: extracts from: Féral, J., Mnouchkine, A. & Husemoller, A. (1989) ‘Building up the Muscle: An Interview with Ariane Mnouchkine’

    Wlodzimierz Staniewski: Staniewski, W. with Hodge, A. (2004) Hidden Territories: the theatre of gardzienice

    Ruth Zaporah: Zaporah, R. (1995) Action Theater: The improvisation of presence


    Yoshi Oida: Oida, Y. & Marshall, L. (1997) The Invisible Actor


    Mark Evans, Coventry University, UK


    Mark Evans is Professor of Theatre Training and Associate Dean at Coventry University. He researches actor training and theatre education. He has published books on movement training for actors and on the work of Jacques Copeau, written several articles on theatre training, and is an Associate Editor for the Theatre, Dance and Performance Training journal published by Routledge.

    'There’s plenty here for any serious student needing to get to grips with the theory and would make an excellent accessible starting point for anyone hungry for information but as yet not quite ready for any single practitioner’s complete oeuvre.' - Susan Elkin, The Stage