Customer Reviews (7)

Coarse Acting Again - At Last!
As a coarse actor of many years standing, I fell in love with Michael Green's book 30 years ago, and was very sad to find that it was no longer in print just a few years later. Now I have been able to buy it again and pass its message on to a new generation of coarse actors!

It's a description of how some actors in community theatre exist - and the outrages they perpetrate on directors, designers and audiences.

It is also very, very funny.

If you want to be an actor, my advice is... don't. Since you won't listen, read this book.
I first came across The Art of Coarse Acting in 1989. At the time I was a young actor about 1/3 of the way through a professional career in theatre. Myself and several others took "The Art of.." very much to heart and made it a sort of personal challenge to incorporate it's teachings into our performances for the next several years (My particular goal was always to be allowed to either show up late or leave early. I achieved this only once). Sadly, I leant my copy to a fellow actor some ten years later and never got it back.

This is a must-read for anyone who dreams of a life on the stage (Either for fun or profit). "If pictures of your productions look like this, you may consider yourself a Coarse Actor." Priceless!

Is King Lear stuck in a tube?
In one memorably ruined production this was the director's obsession, so he gave the actor playing Lear tiny, birdlike movements.

Alas! The set designer strongly disagreed and burst forth with a magnificently bare stage relieved only by a giant phallic monument at the center.

His vision being that King Lear was: "A Man Lost in a Wilderness. "

They never did reach an agreement.

But, as Green points out, it really wouldn't have mattered, because if one is brilliant enough to be obsessed about Lear being 'A Man Trapped In a Tube', neither Shakespeare, the cast, nor the audience has much of a fighting chance. . .

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This book is a deliciously hilarious spoof of the British stage, with heavy emphasis on 'cultural' amateur societies. It is a satire on producing as well as acting, directing,--and the gurus who teach it.

But in a wonderful twist of irony, it is now required reading with many Theater Arts depatrments in universities around the world.

( "Do NOT go to acting school!"--- Eleonora Duse )

As well it should be. Filled with outrageously improbable anecdotes , it nevertheless hits home too well for anyone in the profession.

It is a true masterpiece of ham, which offers marvelous advice for directors on how to succeed through obscurantist doublespeak.

No director, for example, should EVER say anything that remotely sounds 'practical' such as : "Well, frankly, I have to get 'em to speak up. "

Far, far better, according to Green, is to say things that sound profound but mean nothing, such as : "I'm not interested at all whether the audience hears my actors, but---it is vital they should hear them thinking. "

Heavy . . .

( "If a director writes in his notes: 'The Oedipal complex is obvious in this scene, must discuss with the queen'; the sooner he is packed and thrown out of the theater, the better it'll be for everyone! "-- George Bernard Shaw )

Shaw has an ally in Green who, based on personal experience, is convinced that the director's primary job is to weed out the obvious psychotics in the cast during the first week of rehersals.

As to actors left on board Green believes he is far more practical than Stanislavsky, whom he does not admire on the grounds that 'these method people are so vague.' He advises actors should carry a chart (1. Speak Slower. 2. Speak Faster, etc.) for whenever the director goes off into interpretive raptures, Oedipal or not.

Simply ask him to point to which number he wants.

Ah! And who could possibly forget the classic: "How To Steal a Scene Though Unconscious" which puts anything ever written by Constantin to shame. . .

An very, very funny book, which suprisingly does contain unexpected gems of commonsense.

Five stars are not enough.

How to Steal the Scene, Even though Unconscious....
This tome is full of useful information for the coarse actor, including "How to Steal the Scene, Even though Unconscious,""How to be a mere Spear-Carrier, and still ruin a scene," "Basic Makeup Tips for the Coarse Actor," and the useful diagram on set building "The Human Cleat." Anyone who's ever been in a performance of "Arsenic and Old Lace" will appreciate this book -- as will anyone who's ever sat through the show.(Not that I'm slamming "Arsenic and Old Lace," I think it holds up remarkably well.)

Should be required reading in all theatre coarses.Oops, I mean courses...

Keep the tissues handy
I first read this book as a teenager, while spending much of my spare time in amateur theatre, and have become Green's slave for life.

Whole segments of the book are quotable, and painfully - hilariously - familiar to anyone who has ever been involved with the stage, paid or unpaid. I remember reading excerpts to my brother over the phone, while both of us cried because we were laughing so hard ... because although these are not your own experiences, they might as well be.

Every actor - amateur or professional - will have come across a coarse actor in their lives: somebody who "knows his lines, but not the order in which they come", leaving everyone floundering; the blatant scene stealer who takes everyone's eyes away from the real action; the sets that collapse when they shouldn't, or don't collapse when they should.

I could go on. But you'd be far better served by reading the book instead, and keeping a box of tissues handy to wipe away the tears of hilarity. ... Read more

Product Description
This book provides much-needed training for actors aspiring to work in a range of media, including television commercials, corporate films, and video communications. ... Read more

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Customer Reviews (8)

The only acting book you'll need
This book came highly recommended from a respected acting coach so I decided to pick it up. The verdict? I think it will likely become one of the most important acting books of my generation.

Anyone in the business knows that Michael Shurtleff's "Audition" is one of the very best. Deryn Warren, one of Shurtleff's former students, expands on Shurtleff's core teachings to deliver an incredibly thorough and practical guide to the craft of acting. For me, the driving force behind Warren's work is her focus on script analysis. What are you fighting for? What is the subtext? Where are the events and discoveries? She also offers practical tips on how to make active choices when it comes to lists, what acting traps to avoid, and what perfect technique looks like in the auditioning room. Her chapters on Comedy and Script Analysis are truly exceptional and should be included in every actor's toolbox. There is so much more praise that I could heap on Warren's book but I implore you to find out for yourself.

If you're a beginning actor then consider yourself lucky to have found this book so early in your career. Stick to Warren and Shurtleff's approach and you're in good hands. If you've been acting for a while then this book will surely refresh your passion for the craft.

Actor's Smartest Choice!
This book was recommended by the casting director of HBO and no wonder.It will make any actor improve.It should be in the library of every actor, director and theater teacher.The script analyses are brilliant.Among other things, I learned that we should use ourselves and not 'play' characters.I learned how to use humor to heighten a scene. I learned how to enhance my overall technique.This book makes you think.It is a must read for every professional actor. Succinct. Honest. Smart.

Bravo For This Book!
I cannot say enough aobut this wonderful book!Whether you are the beginning actor or the seasoned pro, this book is a must read.Ms. Warren's approach is not just a long-winded arguement for technique, but a hands-on approach to how to actually make for a better performance.Plain and simple, this book will make you a better actor!More importantly, it will give you a decisive apporach on the all-important audition.I am confident that if you are a serious actor, this book will make you better -- much better.Bravo for this well-thought out book!

Loved it!
I just started out in the acting world, and this book really laid it out for me. It was so easy to read and I found myself racing through the pages because i was experiencing a lot of "OOOOHHH! and AAAAHHH!" Warren really makes you understand acting. I recommend it highly.

Terrific resource for actors and writers alike
Deryn Warren provides one of the best "how-to" manuals on the crafts of acting and writing (both for stage and screen) in HOW TO MAKE YOUR AUDIENCE FALL IN LOVE WITH YOU. Unlike many books that attempt to be of a smiliar ilk, Warren simply, but specifically, outlines what makes a performance and a story work both for the actors performing it, and the audience watching it, giving concrete examples from hit plays and motion pictures.

A renowned acting coach and successful actor in her own right, Deryn Warren brings a wealth of experience and skill to this volume, which is a "must have" for anyone serious about a career on stage or screen. ... Read more

Product Description

Acting: The First Six Lessons was first published in 1933 and remains a key text for anyone studying acting today. These dramatic dialogues between teacher and idealistic student explore the field of acting according to one of the original teachers of Stanislavsky’s System in America.

This new edition of an essential text is edited by Rhonda Blair and supplemented for the very first time with documents from the American Laboratory Theatre. These collect together a broad range of exciting unpublished material, drawn from Boleslavsky’s pivotal and unprecedented teachings on acting at the American Laboratory Theatre. Included are:

• "The Creative Theatre Lectures" by Richard Boleslavsky
• Boleslavsky’s "Lectures from the American Laboratory Theatre"
• "Acting with Maria Ouspenskaya," four short essays on the work of Ouspenskaya, Boleslavsky’s colleague and fellow actor trainer
• A new critical introduction and bibliography by the Editor.

Product Description
For actors by an actor of rare subtlety and imagination; fordirectors by a brilliant versatile director. Richard Boleslavsky'sknowledge of the theatre was based on wide experience. A member of theMoscow Art Theatre and director of its First Studio, he worked inRussia, Germany and America as actor, director and teacher. OnBroadway, he produced plays and musical comedies and he was a leadingHollywood director. ... Read more

Customer Reviews (25)

A great resource for performers.
As a voice teacher I often find myself recommending this book to my students.It really breaks everything down into 6 categories and gives you the ease of language in which to understand and follow the process.I think this is a great book to add to your reference library if you are a performer.Voice Lessons To Go v.1-4 The Complete Set

Changed My Life as a Young Actor
This book changed my life when I was a young actor, just beginning to learn about truth in performance. There is a reason it is often called "The Actor's Bible". Every young person aspiring to the life of an actor will benefit from reading this classic.

An Abolute Must
Anyone seriously interested in acting MUST read this book and then re-read it again and again as time goes on.It is simply one of the best books ever written on the subject.The most important lesson of the book is the difficulty and commitment required from anyone who wants to become an actor.Although it seems simple, the lessons he teaches take literally a lifetime to learn.

Not really worth it
It's a very quick read with some small interesting theories and tidbits but altogether very very out-dated and in my opinion, no longer has any relevant information to give today's actor. These techniques have already been surpassed and the book can be at times very stupid and quite sexist. It's really not worth your time or money. I would only suggest this if you were bored and wanted to kill some time on a long bus ride. But I wouldn't suggest that you take most of the things in this book into practice. Times have changed...

I will buy again and again, I am sure
I have purchased this book twice before and pass them on to actor friends I know.It is a terrific book for the beginning actor. ... Read more

Product Description
There are more than 100 performance-tested theatre games in this unusually comprehensive collection. They were compiled after more than 15 years of workshops and study sessions. Included are a wide range of proven activities to assist in teaching specialised skills. The book is divided into 20 sections from Relaxation to Thinking Outside the Box. This is a flexible workbook designed to help instructors and participants mould and adapt many ideas to fit their needs. ... Read more

Customer Reviews (7)

Great for Class
I first took this book out of the library and used it for class. Then I had to have it. It is great for acting classes and I love that it explains what each exercise helps to develop. That has truly helped my class.

Versitle book
This book is full of a variety of acting games that work well for a range of ages.

Not bad
This book presents a smorgasboard of acting games, which Levy often, but not always, links to specific acting techniques and reasons for teaching the specific activity.Rather than himself supporting any particular philosophy of acting or of teaching acting, he presents a wide array of activities that various teachers may or may not find helpful according to their own teaching philosophy.Only beginner teachers or teachers very new to theatre will learn about acting itself from his descriptions of the usefulness of each exercise, as the explanations of usefulness are often quite facile.This book could be relatively helpful to a teacher who already has developed her own philosophy of acting and of teaching and is simply looking for supplemental games.

Handy book for drama teachers
After buying many books about theatre games, I finally found one that is a real gem.I have almost tried every game in the book. It is a lifesaver.

An amazing book
I found at least one game in each section that worked for my class. The students loved it!
... Read more

Product Description
The first complete entertainment dictionary to be published, featuring entries on acting in film, professionalism in acting, microphone, reading, stage, vocal, and verse technique, and more. An invaluable index of subjects by category covers 17 topics, including lighting, commercials, contracts, drama, professional organizations, the media, and theatre. ... Read more

Customer Reviews (2)

It's in There!
Good, clear comprehensive collection. Very helpful. If you are in the industry or even just curious, this is a must have on your shelf.

an indispensable, fascinating reference book!
A veritable treasure-trove and an utterly fascinating one is this dictionary of theater and show business! A theater lover, professional or student can use this book for useful or critical information about the art, or curl in an armchair and read page after page, getting lost for hours in the history and meaning of green rooms, flatbed editor, and a list of the rules of ethics and conduct and responsibilities of Professionalism in Acting. There is even a YouTube link to see a popular actor who died in 1905 playing bits of his famous interpretation of Rip Van Winkle, not to mention such filming directorial terms all very new to me such as "on the bell" or "Give me a banana!"Ranging from Elizabethan theater and before to the current world of film, commercials, television, professional associations and Broadway, Robert Blumenfeld's book is an absolute must for the shelves of anyone who works in the theater or simply adores it.

... Read more

Product Description
Stella Adler was among the greatest acting teachers in American theatre. Her training methods and acting principles here gain the immediacy and authenticity of her own spoken words. Over three years in the 1970s, Joanna Rotte studied with Adler and performed under her direction, all the while taking the copious notes that are the heart of this book and that, in effect, allow the reader to sit in on Adler's classes. ... Read more

Customer Reviews (1)

Joanna Rotte has written an brilliant book.
At first, you could be not attracted by this book to give you an explanation of Stella Adler's Techniques of Acting. Because Joanna Rotte "seems" to be an external person from Adler's Techniques. You would be wrong. It' s not the case. Joanna Rotte has been in touch with Stella Adler for 3 years as a student, then as an actress. Therefore, she has a great understanding of Adler's Techniques. But, the most important, she has been able to organize this knowledge in a book which is CLEAR, complete, precise. If you' re interested by Adler' s Techniques of Acting, get it. ... Read more

Product Description
This book directly addresses all performers who sing and act, whether in opera, musical theatre or music-theatre. By looking beyond the separate acts of singing and acting the performer builds up a greater awareness of how the two interrelate to form a single powerful expression. Using games, exercises and discussion, this book takes a stimulating approach to the demands made upon today's performers, and will equip both the experienced professional and the student to take full advantage of rehearsal and performance. With advice on approaches to learning music, interpreting scores, and building characters, it provides a long-awaited innovative resource for performers, directors, workshop leaders and teachers. ... Read more

Customer Reviews (1)

This book is a revelation!
I think any musical theatre or opera performer will relate to the accessible and sympathetic way De Mallet Burgess and Skilbeck communicate their ideas. They have a real insider's grasp of their subject. I've had a go at some of the exercises and I am already becoming aware of aspects of my stage work that I know will benefit. What makes this book so enjoyable is that it is written from the performer's point of view. There is never any attempt to mystify. Quite the opposite - the gauntlet of detailed technical excellence is thrown down without ever forgetting that the ultimate aim is to put on a jolly good show; probably underfunded; possibly underrehearsed but with heart and soul. Excellent! ... Read more

Customer Reviews (4)

Don't Judge a Book by it's Cover
For those considering an acting career this book is one you must own! It is one of several books Eric has written about our craft and you need to master this if you are going to be successful as an actor. There is no room for shortcuts if you want to develop your craft. Trust me as I have studied with Eric in Los Angeles for several years and I know first hand what this man teachings can done for you. Even though the book appears plain it is packed with instructions and experiences that will free your spirit and bring you to a point of connecting with your soul. After all, if you cannot touch your own heart while performing then how can you touch others?

Eric is a true mentor to me and my life. Without his unwavering dedication to our art and craft we would all still be trying to figure out how to "do it". True, Adler, Meisner, etc, all believe in acting from a true place but only Eric Morris can teach you how to get there through his inventive technique of Obligation, Choice and Choice Approach. This book adds the fourth dimension...Irreverance! Use this process and you will see a dramatic change in your performances.

As Eric once quoted me, "David, you are one of the few on the road to "being". Stay on your journey and the rewards will be fantastic!" So true Eric, so VERY true!

"Thank you Eric for your unyielding passion to your craft. It has taken me places I never dreamed imaginable. I wish you taught classes in Chicago. You are terribly missed!"

Morris is a genius
This is the greatest book written by the greatest acting teacher of all time.The content is amazing and overwhelming to digest all at once.Irreverent acting is the actors Bible in my opinion.

Eric is a genius.

Acting that makes sense...
I'll admit that at first glance Eric Morris's System can seem scary and misaligned. But I believe it to be a very misunderstood system.

I too was skeptical in the beginning, but after studying this technique (with Eric, but mostly with Anthony Vincent Bova in NYC, Eric's protégé), and after seeing the difference from "acting" and what this Work creates, there's no way I'd ever go back to the "acting" form.

Eric Morris teaches the actor how to react honestly and in the moment, including everything that's going on inside and out-the other actor, the props, the imagined objects that one might be working for-that impels you to "do" whatever the character is required to "do", but out of a real reaction, not just because you're doing it.

I've studied Adler, Strasberg, Meisner, and with Robert Lewis.I've hashed through the process of verbs, actions, objectives, obstacles, and onward; and they're all good and dandy for figuring out what's going on in a script, what the characters are doing and why; but other than that, these techniques never helped me figure out HOW to make it real to ME... How to get to a place where I'm actually functioning from a real, organic, truthful state ... How to get to the point where I am "doing" all the script tells me to do, fulfilling the "actions," out of an honest REACTION to what's going on.... Not just "playing" as if I am; how, in essence, creating the realities of the character....

No matter where you go, all the great teachers (and actors) say the same thing, "Acting is reacting." Even the most used and cherished word in the actor's language, LISTENING, is about focusing outside of yourself and REACTING to what is there.This Work trains the actor to create the stimuli that will fulfill the demands of the piece, specifically, wholly, and with Truth.

For the most part, plays and movies are imagined circumstances, and we as actors, have to create stimuli to react from, so we're not just faking, or indicating our performance. I'd rather watch two people have a relationship on film or on stage, than two actors reciting words, no matter how well they "act" it.If they don't believe it, I won't. This System trains you to create those stimuli and REACT to them honestly, fully and truthfully.

A crucial part of Eric's System is based on Instrumental Work, which is the process of identifying blocks and fears and tensions to expression and, one-by-one, through the use of hundreds of exercises, eliminating them. It's really about self-awareness-learning about yourself and how you function, so you can "get out of your way" and function truthfully on stage or film and get to where you need to get to in a scene. I think this is the aim of every method, but I feel that this System is the only one to address the issues of the actor on a personal level. If I'm tense and depressed (in real life; me the actor), I'm not going to be able to REACT truthfully in a scene where the character has just won the lottery and is jumping with joy. If I push for the emotion, I'll be faking and will "act" that I'm joyful. If this is enough for you, then Eric's work is definitely not your thing. But if you're looking for creating reality and REACTING with truth, nothing surpasses this Work.

I know that Meryl Streep, Brando, Ed Norton, Johnny Depp, Jack Nicholson, Al Pacino, Robert DeNiro, and a handful of other amazing actors don't fake it, don't just indicate the realities of the character and the circumstances. They create them. Be it imagined stimuli they are creating, or through the available stimulus around them, they open themselves up and REACT truthfully to everything -the other actors, the set, the space, the props, the object or person via Sense Memory, etc. I KNOW they do this for a fact! They've talked about it for years.

Eric helps you get to the place that they do-where you can function truthfully, where your instrument is accessible and available, where you are open and are willing to go where the character needs to go, emotionally, psychologically, and physically.

My advice is read Eric's books. If they pique any interest in you, if they strike a cord, study with Eric or Anthony, or at least contact them for further information about the system.I think you'll be quite surprised and utterly amazed at the tools this Work can provide you as an actor.

One of the best books on acting ever written.
Once, in Eric Morris' Acting class, I mistakenly referred to this book as Irrelevant Acting. Nothing could be farther from the truth. This is one of the best books on acting ever!

The exercises and work in this book have enhanced my acting tremendously, given me a way of working that is unmatched by any other acting book I've ever come accross (and I've read a ton of em) and has made me a powerful teacher and director in my own right.

It explains Eric's Technique of Freeing the Instrument (Explained in great detail in his No Acting Please which should be read prior to this book.) It explains a new way of looking at material and personally connecting it to the actor through choices and choice approaches. It truly helps make the actor an artist in that he creates and is truly using himself.

If you utilize this work and combine it with some common sense of your own (if you don't combine it with some common sense--some of it can get you into trouble) your acting will take on a new dimension; you will be more open as an actor artist and human being.

You will learn how to free and tap into your emotions.How to make personal choices for your material. How to make Choice approaches or tools to connect you to the work and more! Read this book. Do the exercises. I can't recommend it enough.

Do read No Acting Please first and follow it with this amazing masterpiece. ... Read more

Product Description
Heralded as "Best Acting Teacher in LA" by Back Stage magazine, Hollywood’s most sought after acting teacher Howard Fine reveals the winning technique that has garnered his students international acclaim and the industry’s highest honors in his astonishing book FINE ON ACTING.During his twenty-five years as a teacher and director, Fine has developed a technique that is both useful and exciting.Emmy Award®-winning actor Michael Chiklis (THE SHIELD, FANTASTIC FOUR) writes in the foreword for FINE ON ACTING, “You’ve purchased this book because you either aspire to be an actor or want to be a better one. Either way you’ve made a wonderful decision. Howard Fine is a great teacher. His philosophy and approach to the craft of acting are the most helpful, encouraging and practically applicable I’ve ever encountered.”FINE ON ACTING covers the essentials for actors, including The Common Mistakes, Rehearsal, Auditions, Stage vs. Television and Film Acting, and Comedy vs. Drama. Fine also offers valuable advice for troubleshooting challenging situations, such as playing opposite a bad actor, nerves, memorizing lines, working with a bad director, and being emotionally blocked.A close colleague of the legendary Uta Hagen and the founder of the Howard Fine Acting Studio, Fine has worked with hundreds of stars, including Brad Pitt, Will Smith, Bradley Cooper, Chris Pine, Justin Timberlake, Lindsay Lohan, Salma Hayek, Simon Baker, Amanda Bynes, Gerard Butler, Jennifer Connelly, Dwayne “The Rock” Johnson, Michelle Williams, Val Kilmer, Sela Ward, Jason Priestley, Kerry Washington, Amy Smart, Jared Leto, Wilmer Valderrama, Brooke Shields, Daryl Hannah, Rick Fox, Estella Warren, Christopher Meloni, Enrique Murciano, Garry Shandling, Alexa Vega, Heather Locklear, Geri Halliwell, Carla Gugino, James Belushi, Diana Ross, Jon Bon Jovi, and Josh Groban.Fine is one of the few elite acting experts who has devoted his primary career to perfecting the teaching and coaching of professional actors.His outstanding reputation is the product of his remarkable expertise uniquely coupled with his extraordinary gift to inspire. ... Read more

Customer Reviews (9)

direct relationship to the human condition
Howards book, relates directly to his teaching methods in the classroom. He writes precisely what is required to understand the work, and enables us to translate it to how we will most benefit. He is an idiot-savant with acting. After years of study, a Batchelor of Dramatic Arts in acting at one of the worlds most prestigious acting schools (NIDA), I hadn't grasped the true requirements to act 'AUTHENTICALLY' until working with Howard, and his book is those exact words translated seamlessly to the page.
This tool for acting is my actors handbook, which assits me all the way from auditioning to working.

A must for actors
Reviewed by Carol Hoyer, PhD, for Reader Views (01/10)

I will have to say that I wish I had this information when my daughter started on her acting career for movies. We read everything we could find, but most of our readings were very general. Author Howard Fine gives readers and potential actors the nitty-gritty in this book. His honesty, experience and tips will make potential actors better in how they audition and how they understand the acting world. He doesn't say that if you read this book he guarantees you will get the job, but he will help you be a step-above others.

I do believe that the chapter on "Common Mistakes" was one of my favorite. It included topics about natural vs. real; attitude and judging the character. One thing that I found is that each actor/actress views the character they are playing in different ways. Trying to figure out what the director wants is another story. Should you come on strong, weak or neutral? To be a great actor, the author says you have to know yourself. This is something I teach in my Psychology classes all the time.Once you prejudge a situation, you have put yourself out of the running.Many times actors have a tendency to over-analyze their characters.Actors need to have a range from playing the saint to the serial killer says author Fine.In addition, actors get into trouble when they have to play characters that are outside their experience. I remember a role my daughter had for the Discovery Channel; she had to portray a rape victim. Since this was not in her realm of experience, she spent time talking to rape victims and was able to successfully fulfill her role in that movie.

I found that really the author is saying, be true to yourself. Be human and be the best you can. This is a book that everyone should have if they think they want to go into this field. You can take all the lessons you want, and each instructor/mentor is different. But if you want to know the real truth and do your best, "Fine on Acting: A Vision of the Craft" by Howard Fine is the book for you.

An essential manual for personal, professional, film school, and community libraries
For more than twenty-five years, Howard Fine has won respect within the movie industry as an innovative teacher of acting skills and as an film director. With the assistance of co-author Chris Freeman, Howard Fine has distilled his insights and innovations as one of Hollywood's most successful acting coaches and teachers in "Fine on Acting: A Vision of the Craft", a 218-page compendium of practical advice, thoughtful insight, and real-world-based observations for aspiring actors. Covering such a broad range of issues from playing in a cast with substandard actors, to memorizing lines, to dealing with flawed directors, to auditions, rehearsals, and cogent differences between acting on television, the films, or live stage productions, "Fine On Acting" is an essential manual for personal, professional, film school, and community library Theatre/Cinema/TV reference collections and supplemental reading lists, that will be of especial value for anyone aspiring to an acting career from local community theatre to big budge Hollywood extravaganzas, to television scripts, to Broadway and Off-Broadway productions.

The Best Book On Acting Out There
This is a comprehensive and clearly understandable book about the craft and experiences of acting. Howard Fine has covered in this book all the important and relevant information an actor would need in their tool box. I highly recommend this book to all actors!

This one is a keeper!
I can't write a review that will do this book justice but...

If you're ready to roll up your sleeves and put the work in, Fine on Acting gives you the tools to build the foundation for a successful acting career. In a very short amount of time it has already allowed me to make several breakthroughs in my acting work. What is so valuable about this book is that it's not a conceptual take on the craft but rather a clear and accessible outline of the technique that will allow you to bring spontaneous life to your work. Thank you for writing this book Howard Fine. As long as I am acting this book will be by my side.

Just a few things of note:

The forward by Michael Chiklis inspires you in a way that makes you want to read the entire book in one sitting...and I did.

I really enjoyed Howard Fine's "Who Am I?" at the beginning of the book. It was revealing and extremely interesting and it allowed me to read ahead knowing that I was in good hands. I now understand why he is the most sought after acting teacher in Hollywood.

The Common Mistakes section of the book will shine a light on the habits that are most likely keeping your work from reaching new levels.
... Read more

Product Description
From Richard Hornby's preface: This book is written for those who act, those who teach acting, and those who are interested in seeing it. It is both a theoretical work and a call for action. This book is an unashamed attack on the American acting establishment ... The concepts derive from my graduate seminars in acting theory and history in the School of Theatre at Florida State University ... Much of the feistiness of those classes carries over into this book ... If my arguments serve only to stimulate new dialogue, they will have been valuable. ... Read more

Customer Reviews (9)

A Must Read
My only minor criticism of this book would not be regarding acting per se, but aspects of the psychological mode/explanations he offers; the "oceanic" bliss etc. that we supposedly experienced in earliest childhood is outdated and confused. None the less, it is of great use that he inquires into and explains GENUINE Freud in his theoretical fullness in this study -not by accident, of course, as pseudo-Freudian notions have quite plagued the American acting world for far, far too long. What is really needed for actors and acting theory is something which even remotely resembles a CONTEMPORARY psychology . . . few take much of Freud very seriously any more, nor have for decades, but somehow American actors and acting theory remain stuck a good 100 years behind the times. (Perhaps - because actors and acting teachers really aren't psychologists . . . ? Remember this all students of acting.) Hornby's examination of Freud's ideas of primary-process thinking and secondary-process thinking is important and useful, but the reality of these things relevant to the actor is much better handled by cognitive psychology not psycho-analysis. (See for example "The Nature of Expertise in Professional Acting" by Tony Noice for a relevant study.)

Aside from that this is an outstanding book. Hornby offers a voice and perspective of clarity -well studied on every subject he deals with -and on nearly every subject relevant to acting in a general, down to earth and reasonable sense.

His use of photographs (in agreement with other reviewers) is outstanding. His history, examination of Shakespearein his day and age and "How we got here from there" is another highlight and should be read and considered by all. It should be noted that his chapter on Strausberg is outstanding too. "All actors should learn the Strasberg affective memory exercise." (That quote is from memory.) He isn't even really anti-Strasbeg; he is inclusive and acknowledging of his contribution and it's usefulness.But he is anti the prevailing ideas that have taken over American acting theory and approach since the 1950s and 60s.

He also takes the time to look into semiotics, as with other subjects he seems to keep it as accessible as possible, but it is important that acting especially and theatre-making theory in general begin incorporating a semiotic view. The progress of theatre semiotics is phenomenal and dates back to the 1930s. Yet, this important work has been terribly neglected within the theatre-making and acting world itself.

The final chapter on the state of American university training is powerful . . . and makes me glad that I did not go to college for training as an actor. That is an unfortunate thing to have to say but it is true.

If acting and theatre studies were treated AS AN ART in American universities the entire cultural landscape would change. Rather than being set up and educated to be out of work for the rest of your life, universities could turn out artists, and the HOME of art as opposed to commercialism. This would or could eventually result in the creation of more JOBS for actors and theatre artists, especially if as a result theatre would be taken more seriously in all levels of education and eventually in the culture as a whole.

Hornby starts out this book perfectly, repeating the question -why did anybody want to act in the first place? To get rich and famous? To spend your life out of work knowing that you never will get rich and famous? You wanted to act.

Very much in alignment with Mamet who treats the same in True and False and at times very movingly. (Again, from memory): "Everybody eventually says 'where did the time go?' 'It went by so fast.'

Sitting around waiting for a job that will never come is a good way to waste and subsequently regret your life. Universities should be held accountable for such an education. As well as for such a neglect of the true riches of our art.

A Radical Common Sense View
You have to be in businnes or teaching acting for long time to appreciate this book fully. I don't remember when last time I read with the same interest anything on Method Acting theory. I will recommend "The End of Acting" to my Advanced Acting classes. Besides, it's a good read, although the subtitle "A Radical View" loaded with a double irony -- it's "A Common Sense View"! It will take me a while to incorporate the notes on Richard Hornby's book, I plan to do in on method.vtheatre.net pages. If Mr. Hornby would take another shot at this book with less attention to the polemical aim (very relevant today), the book has a chance to become a classic text. [I save the last star for the next edition.] I don't know, if Richard Hornby knows that this is not "his" interpretation of Stanislavky (which is always the case), but the right reading of Stanislavsky -- and even to the point of being more "Stanislavsky" than Stanislavsky's own writings.
I appreciate the straight style and the "photo-analysis" of film actors could be another book by itself (to save many actors a lot of money on their headshots).
I guess, now I have to read Mr. Horby's other books. Especially, Drama, Metadrama and Perception.

Prof. Anatoly Antohin, University of Alaska Fairbanks

all you need to know about acting
Acting has always been an enjoyable activity for me.That is, until I got to college, where I took my first acting class.It was also my last.As one actor quoted in this book calls it, it was "method bulls**t."The class was very demeaning, very preachy, full of doublespeak and pretentiousness, and, worst of all, it has affected my enjoyment of any play I've done since, as I've had to work with mediocre actors who think they will improve by treating this teacher's words as gospel truth, and so can't rehearse a scene without a lot of pointless exercises.

This book reiterates everything I have picked up through the years about acting, before I had "training."

Outstanding Theoretical Work
So why are the Brits, pound for pound, far better actors than their American cousins? Over a hundred years ago Edwin Booth and other greats toured England performing Shakespeare. The idea of American actors touring England these days, performing Shakespeare--or any of the classics---is about as far fetched as as a rap group, a mariachi band or The Dixie Chicks touring Rome performing Verdi.

What went wrong?

Why did critics give James Earl Jones good reviews as the judgein an Ibsen play but felt compelled to inform you that, just in case you didn't know it, there were no black judges in 19th century Norway---and yet felt no need whatever to point out that, just in case you didn't know it, they spoke (unlike Jones and the other actors in the play) Norwegian,not English?

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Hornby examines conventions so ingrained in American acting training, that we're not even aware they're conventions any longer.

His main target is the indubitable Lee Strasberg and his followers. Hornby is not so much anti-Method as he is pro-Stanislavsky.Using examples and photos from actors as varied as Marlon Brando, Humphrey Bogart and W.C. Fields; his section on 'Stanislavsky's Basic Theories' is worth the price of the book alone.

Hornby'scritique against Lee's guru/teacher offsprings is that among many sins, they 'train' actors in the manner of a football coach who runs all sorts of endless exercises but never actually lets the team play in a real game.

If they did reality would set in and the con-job would be over. Actors are of course equally guilty in perpetuating the con out of their own fear--if they actually had to audition, get hired and depend upon the audience's pleasure to earn a living in the theater--Gee, they'd be rather like the English wouldn't they?

As it is they can stay in the sidelines and talk forever as they examine all their 'flaws' in labs/studio/workshops, but do nothave to dirty their hands battling in the arena.

Equally guilty, in his eyes, are the pundits that run American Theater Arts departments at universities. Even those who are not the offspring of Lee & co, encourage actors to 'play themselves' to such an absurd degree that Hornby notes that the late Peter Sellers could not have passsed the audition for anentrance exam. he could not 'play himself'.Olivier would have probably fared equally badly, and of course Meryl Streep regularly getsput down for using accents, i.e; for ACTING. Even if the accent is required in the role.

The book begins with a section entitled the psycho-sexual basis of acting, which quotes Freud extensively and is a bit long winded. Not badly written by any means, just that the points that acting is fun because the lines of ego are not so rigidly drawn as one thinks, that actors are considered 'childish' by those who hate their own jobs (Oh, 90% of the public), The common distrust towards people who pretend to be someone else--all this wasbetter stated in David Mamet's "True and False", when he observed that, in the Middle Ages, actors were buried at a crossroad---with a stake through the heart. "An awesome compliment"

Nevertheless, this is truly a 5 star book, and contains more constructive critique than Mamet's.

Absolutely required reading for any actor or director.

A manifesto on acting and teaching
Contrived as a manifesto, this book takes a revolutionary tone.Hornby's revolt is against a certain conception of acting which the author blames on Lee Strasberg; and against the conception of actor-training as being primarily vocational.What of theatre as a humanity?Considering the rate of unemployment in theatre, should we not rethink our motives in training people in theatre?Hornby does a skillful job of confining the scope of his book to American theatre, in spite of the questions he raises about psychology and emotionality.

In his critique of Strasberg's method and teaching, Hornby may be faulting the teacher for the work of those who followed him (the way some have blamed Stanislavsky for what they didn't like in Strasberg).He may be over-generalizing about how American actors box themselves into outmoded Freudian conceptions of psychology and dualistic approaches to the work.

On the other hand, there is much to value in his call for production-oriented training programs and for teaching acting as a humanity more than as a career.Here the reader may find his numbers and his criticisms dated; also, he strangely has little to say about training actors to generate their own work. ... Read more

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More One-act Plays For Acting Students is a Meriwether Publishing publication.
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This practical book on the subject of how to act, based on Ms. Spivak's forty years of acting, coaching, and teaching classes - first at Herbert Berghof and Uta Hagen's HB Studio, then on her own - provides a step-by-step system for analyzing and building a character organically, which can be applied even in the short time an actor has to prepare for auditions and for many television performances. Timely advice includes how to do camera takes, interpret and follow stage directions, and how to prepare for auditions and work in theater, film, television commercials, and television soap operas, sitcoms, and nighttime dramas. ... Read more

Customer Reviews (3)

A winning set of insights on the entire process of honing characters and actor's skills.
Actors and collections catering to them will find How to Rehearse When There's No Rehearsal a winner: it assists actors in all mediums including television and film and uses over forty years experience on theatre, film and television to provide actors with a step-by-step program for developing and building a character. From developing relationships and writing a preliminary character background to planning activities and action, this provides a winning set of insights on the entire process of honing characters and actor's skills.

Thank you, Alice Spivak!
Really, it's about time a book came out to help me--a stage actor who does film and TV and struggles to deliver good performances without rehearsal. This book offers a great framework and wisdom about the craft of acting.

great for students/aspiring actors
This book really taught me a lot.I am a student who is studying acting, hoping to one day be on stage in New York, however have always struggled with how to practice.It's easy for me when I'm with other people and under the stage lights to concentrate on different aspects of my acting, however when those outside things aren't there and I'm at home, I don't rehearse in a way that is most productive.This book has given me many ideas from how to read the script to making the character my own to what to do in front of directors and cameras.I highly suggest everyone to buy this book...there are always things that can be learned, even when you think you have it already! ... Read more

Product Description
Practiced by such actors of stature as Marlon Brando, Robert De Niro, Julie Harris, Dustin Hoffman, and Ellen Burstyn (not to mention the late James Dean) the Method offers a practical application of the renowned Stanislavsky technique.

On Method Acting demystifies the "mysteries" of Method acting -- breaking down the various steps into clear and simple terms, including chapters on:

Sense Memory -- the most vital component of Method acting

Improvisation -- without it, the most integral part of the Method is lost

Animal Exercises -- just one way to combat the mental blocks that prevent actors from grasping a character

Creating The Outer Character -- so actors can give the freshness of originality to a role while at the same time living the life of the character

On Method Acting is also an indispensable volume for directors, designers, lighting technicians, and anyone in the dramatic arts interested in creating a believable and realistic effect in their productions. ... Read more

Customer Reviews (5)

Great book for the money,...
"On Method Acting" was the first book out of dozens I bought that actually still held in the four cornerstones of this approach as developed by Stanislovski and Strasberg. Those being observation, focus, sense memory, affective memory and intense concentration holding the corners together. The true Method simply is not the method without these four cornerstones which sometimes takes years to master. For the money, this small book gives the novice a good sound understanding of this unorthodox approach. How many people gain 55 pounds for one scene. How many file their own teeth down rather than wear false ones and how many can be in character 24/7 from the conception of the films beginnings to it's final days in post. Method actors are the REAL actors! This book follows around the roots of the "Methods" first attempt moving from stage to screen and gives a little insight into the insanity that it truly takes to be a "Method."
A very good book for a very nice price.

Very good resource for method acting
I have read book twice. It looks small book such as booklet at the beginning but includes really deep information about method acting.
I highly recommend everybody interested in method acting.

The definitive book "On Method Acting"!
As a past student and employee of Lee Strasberg and a Method acting coach myself for over 30 years, this is the one book I always recommend to my students.Y'know how the explanations in some books are so simple and clear that you continually have "A-HA!" moments when you read them?This is one of those books.Of course, you need to work with a good coach who knows their stuff and can give to learned feedback to really internalize any acting technique.That's one of the reasons that Lee was such a great teacher. But, as a Method text, this is tops!

Excellent information!!!!
This book was most informative.I am currently taking acting classes and it follows the formal training I am receiving and gave even more information than my instructor has so far.I am very pleased.
Dee Luca

2 thumbs up!
This book has taught me how to be a method actor. Until I read this book Iwas strugglling with my acting, I could never really find the charactor.But with this book I was able to analize a charactor successfully. And as aresult I have improved my acting skills and gotten larger and better partsin plays. I highly recomend this book if you're struggling with your actingor if you are just staarting to explore the world of acting. It's a greatplace to start. ... Read more

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Simply Amazing
This book explores the wonderful techniques of Tadashi Suzuki, who often works hand in hand with Anne Bogart.The book is a spiritual and magical take on acting, concentrating on the actor's body and mind rather thanhis/her lines and blocking.It is a refreshing and challenging techniquethat is beautifully and simply explained in this book.Complete withpictures of the artist himself, the book is a wonderful way to get yourfeet wet in the Suzuki/Bogart technique. ... Read more

Product Description
This CD program covers material not included in either of Chekhov's books, On the Technique of Acting or the new edition of To the Actor. The highlights include: The Art of Characterization; Short Cuts to Role Preparation; How to Awaken Artistic Feelings and Emotions; Avoiding Monotony in Performance; Overcoming Inhibitions and Building Self-Confidence; Psycho-Physical Exercises; and Development of the Ensemble Spirit. ... Read more

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A Masterclass
This is a wonderful audio book which is a must for anyone interested in Drama and the actor's art.
It was recorded in California in 1955 - the year Michael Chekhov died. The listener has expounded for him/her- in Chekhovs own warm and inimitable tones - the secrets of acting. Chekovs approach is comprehensive - physical , psychological and spiritual.Just to listen is enriching.

Very helpful and insightful!
As a fan of Michael Chekhov, I found this product very helpful!It came with several CDs that I uploaded to my computer and listen on my ipod daily.It's pretty amazing to hear Chekhov explaining his theories on his own terms and timing.I especially enjoyed the elements of the mask section.

This item is probably not for beginning theatre students, but for those who have heard of Chekhov, you will enjoy!

LISTEN TO THE PASSION OF CHEKHOV
I'VE READ WHATEVER MATERIAL I COULD THAT HAD ANYTHING TO DO WITH MICHAEL CHEKHOV, BUT LISTENING TO CHEKHOV SPEAK ABOUT HIS TECHNIQUE IS LIKE NOTHING ELSE.FOR ME IT FELT LIKE CHEKHOV WAS SITTING RIGHT BESIDE ME.I COULD FEEL THE PASSION OF HIS VOICE.VERY INSPIRING.I RECOMMEND FIRST GETTING ACQUAINTED WITH CHEKHOV'S TECHNIQUE BY READING HIS BOOK "ON THE TECHNIQUE OF ACTING" AND ONCE YOU GET A VERY GOOD UNDERSTANDING OF IT, USE THIS AUDIO COMPILATION AS AN AID TO INSPIRE, AND KEEP YOU IN TOUCH WITH THE MAN AND HIS ART.SOUND QUALITY IS NOT THE BEST, BUT I'M GRATEFUL THAT ANYTHING LIKE THIS EVEN EXISTS, SO IT'S NOT THAT BIG OF A DEAL.IF YOU'RE AN ACTOR OR WANT TO BE ONE, AND LOOK AT ACTING AS AN ART FORM, THEN GET ACQUAINTED WITH CHEKHOV AND HIS TECHNIQUE.THERE IS NOTHING LIKE IT OUT THERE. ... Read more

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Practical guide to motion picture and television acting, fully illustrated, covers audition tapes, and securing an agent. ... Read more

Product Description
A four-section book of acting games and improvisations to assist students in developing their creative abilities.Section one includes games for relaxing and focusing.Section two helps students discover new ways of seeing themselves, others and the world around them.The third section demonstrates with improvisations how to use space to build scenes and create characters from imagination.Section four features acting games to analyze and play characters from existing plays.All of the essential elements of acting and character development are explored.A working textbook for acting students of all ages. ... Read more

Customer Reviews (1)

Acting Games: Improvisations & Exercises
Acting Games: improvisations and Exercises: A textbook of Theatre games and improvisation help me with my stage fright. ... Read more