Arthur Lessac’s Embodied Actor Training situates the work of renowned voice and movement trainer Arthur Lessac in the context of contemporary actor training. Supported by the work of Constantin Stanislavsky and Maurice Merleau-Ponty's theories of embodiment, the book explores Lessac's practice in terms of embodied acting, a key subject in contemporary performance. In doing so, the author explains how the actor can come to experience both skill and expression as a subjective whole through active meditation and spatial attunement. As well as feeding this psychophysical approach into a wider discussion of embodiment, the book provides concrete examples of how the practice can be put into effect. Using insights gleaned from interviews conducted with Lessac and his Master Teachers, the author enlightens our own understanding of Lessac’s practices. Three valuable appendices enhance the reader’s experience. These include: a biographical timeline of Lessac’s life and career sample curricula and a lesson plan for teachers at university level explorations for personal discovery Melissa Hurt is a Lessac Certified Trainer and has taught acting and Lessac’s voice, speech, and movement work at colleges across the United States. She has a PhD from the University of Oregon and an MFA from Virginia Commonwealth University.
There are over 150 BFA and MFA acting programs in the US today, nearly all of which claim to prepare students for theatre careers. Peter Zazzali contends that the curricula of these courses represent an ethos that is as outdated as it is limited, given today’s shrinking job market for stage actors. Acting in the Academy traces the history of actor training in universities to make the case for a move beyond standard courses in voice and speech, movement, or performance, to develop an entrepreneurial model that motivates and encourages students to create their own employment opportunities. This book answers questions such as: How has the League of Professional Theatre Training Programs shaped actor training in the US? How have training programmes and the acting profession developed in relation to one another? What impact have these developments had on American acting as an art form? Acting in the Academy calls for a reconceptualization of actor training the US, and looks to newly empower students of performance with a fresh, original perspective on their professional development.
Movement: Onstage and Off is the complete guide for actors to the most effective techniques for developing a fully expressive body. It is a comprehensive compilation of established fundamentals, a handbook for movement centered personal growth and a guide to helping actors and teachers make informed decisions for advanced study. This book includes: fundamental healing/conditioning processes essential techniques required for versatile performance specialized skills various training approaches and ways to frame the actor’s movement training. Using imitation exercises to sharpen awareness, accessible language and adaptable material for solo and group work, the authors aim to empower you the reader to unleash your extraordinary potential.
This release of Body Wisdom marks the forty-first anniversary (1978-2019) of Arthur Lessac's groundbreaking work that incorporated an unusual philosophy, a sensible system of creative work and exercises, and a vital concept of psychosomatic health into a single discipline applicable to theatre, athletics, therapy, and life in general. Upon its initial release, Body Wisdom was praised by Theatre Quarterly as a "personal system that is brilliant in its simplicity and as effortless in its flow" - that "incorporates and inter-relates many principles of Yoga, Alexander, and Laban." Over the last forty years, the book has served as a fundamental source used in the evolution of Lessac Kinesensic Training, a sensory-based approach applicable to all uses of the body with "body" defined in its broadest sense to include the physical, vocal, spiritual and imaginative. In a new introduction to this edition of Body Wisdom, Master Lessac Teacher Deborah Kinghorn situates the original manuscript as an important archive in the overall development of Lessac Kinesensics and provides insight into how some of the original terms coined by Arthur Lessac have shifted, while still offering up new possibilities for self-discovery and learning within the larger areas of Bodymind, Embodied Learning, Sensory Integration Therapy, and Theatre Training.
The Alexander Technique is a specific form of mind/body practice that focusses on improving efficiency through learning and understanding movement and behavior. Galvanizing Performances applies the teachings of this practice to the performing arts. Through theatre, music, and dance, the contributors, all artists themselves, demonstrate how deliberate movement can improve an individual's art and benefit their general health and wellbeing. Using specific case examples and in-depth analysis over a range of performance arts, this book supports instruction of effective movement and the Alexander Technique within different artistic disciplines for students and teachers alike.
Alexandra Pierce singles out elements of music such as melody, meter, and phrase, and investigates the defining quality of each through movement. Although simple, these exercises engage the listening attention in complex ways and can be integrated into a musician's daily practice. Practicing movements that accurately reflect a musical element can improve technique and are audible in performance. They become part of your technical command. Short narratives that illustrate how performance practice problems can be approached and solved are scattered throughout the book. A video companion to Deepening Musical Performance through Movement can be found at the author's website, alexandrapierce.net/deepening.