Download An Actor's Tricks by Lorna Marshall, Yoshi Oida PDF

By Lorna Marshall, Yoshi Oida

A founding member of Peter Brook's overseas theatre corporation, Yoshi Oida infuses his performing and directing with the artistry of the Oriental traditions and a mastery of Western types. during this disarmingly available learn of the artwork of acting he stocks his distinctive adventure and diversity of craftsmanship. An Actor's methods offers a meticulous scrutiny of the actor's guidance for functionality and is derived with a foreword via Peter Brook.

Drawing on an unrivalled wealth and variety of craftsmanship within the fields of performing, directing and coaching, Yoshi Oida and Lorna Marshall supply an authoritative and interesting examine of the paintings of the actor.

In scrutinising the method of functionality from the dual views of the actor and director, An Actor's Tricks is full of hints, insights and stories from productions with Peter Brook and from worldwide.

Beginning with the day-by-day coaching to coach the physique, it strikes to the method of practice session for a functionality correct up to date whilst the actor steps onstage. An appendix of practical workouts is incorporated for the actor to follow.

The books combines rules and methods from either Western and japanese disciplines of appearing to supply a masterful examine crucial for each actor and director.

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Sample text

The moment when you enter the stage, you must feel the life of the public, which is not the same as the life of an individual. The whole group together makes a single life and this is what you must catch. This doesn’t just apply at the beginning of the play. When I was performing in The Mahabharata, a nine-hour marathon, I didn’t actually enter the stage until the play had already been running for an hour. I watched the performance from the audience and observed what was happening. If the tempo was a bit slow or heavy, I knew I had to bring more energy with my entrance.

I don’t quite agree with this idea that some people are born poets and others aren’t. For me, everyone is born a poet and it is the demands of life (education, family and so on) that cause people to lose their quality of being poets. In any event, singers and dancers need to find ways of filling their beautiful technical boxes with vivid life. BRIDGES One trick I use when I direct opera is to look for bridges. In the score there are the actual singing sections, plus many interludes where there is only music.

A Samurai warrior once asked a Zen Master about where he should place his perception and concentration. The Master replied, ‘Not on the tip of your attacker’s sword and not on the tip of your own. You should also not focus on your hands, or the movement of your attacker’s feet. Instead, you should focus everywhere and nowhere at the same time, and keep your perception moving. ’ The first time I saw a video of my acting I was shocked and horrified. I instantly fell into total despair. I had thought I was acting very well, but when I saw the video I discovered I was acting really, really badly.

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