By Ronald Rand;Luigi Scorcia
Acting academics of the USA offers special, revealing interviews with 50 of the main influential modern American appearing lecturers, in addition to actors and administrators who educate appearing. Michael Howard, Lloyd Richards, Olympia Dukakis, John Strasberg, Larry Moss, Anne Bogart, Zelda Fichandler, William Esper, Eric Morris, Terry Schreiber, Anne Jackson, Milton Katselas, Andre De Shields, Michael Kahn, and Marian Seldes are only some of the individuals who provide an extraordinary glimpse into the realm of actor education within the usa. via those illuminating interviews— together with infrequent interviews with famous former scholars, together with Sidney Poitier, Gene Hackman, James Gandolfini, Laura Linney, Edward Norton, Billy Crudup, Patti LuPone, JoBeth Williams, John Tuturro, Doris Roberts, Steve Buschemi, Kristin Davis, and William harm – plus unforgettable photos—readers achieve perception into how the craft is taught and the way those unusual lecturers proceed to have a profound impression on our tradition. With a foreword through J. Michael Miller, president of The Actors middle in manhattan urban, performing lecturers of the US is a must-read for someone education for a lifestyles within the theater, in movie, or in tv, and for everybody drawn to the appearing arts and our nation’s wealthy cultural existence. • the largest names in appearing: Michael Howard, Lloyd Richards, Olympia Dukakis, dozens extra • beautiful, revealing photos of performing lecturers and their most interesting scholars • vital for each performing pupil or operating actor
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Additional info for Acting Teachers of America: A Vital Tradition
RR: Have you changed the way in which you teach acting? GA: Constantly, especially during the last eight or nine years. Since I met Carol Fox Prescott. I’ve been very much influenced by her. I co-teach with her, and she has been my acting teacher. I have found I can improve people’s work. Viola Spolin worked in the same way, creating exercises to solve problems. I have also learned about teaching from my wife, Wendy MacKenzie, who is one of the top vocal coaches in the country. Since she teaches in the house, I overhear lessons day and night.
I’m able to articulate what I want to do with the material. I can have a discussion with the director, whether I do a play on the West End in London and rehearse for six weeks, or a CSI in Miami. I always keep an open mind. What I love about his way of working is that it has to do with the universal. Ron also said that a script is skeletal, and it’s our job to add the heart, the soul. Ron gave me a discipline for a lifetime, and when I’m able to step back sometimes, I can see a lot of the things he talked about and understand how to use them.
RR: Do you place an emphasis on the actor understanding the playwright and the world of the play? BB: Our entire program in acting is driven by, and revolves around, the text, what the text reveals, and understanding the driving force of the writer’s ideas. When actors read a play, they have to ask: What is the historical base for this play, and what is the universal human truth that is revealed? That balance point between historical context and what is essential truth becomes our search. For instance, in the play Hedda Gabler by Ibsen, at the beginning of the play, Hedda is standing at the French windows wondering why the leaves are so yellow.