Sol Garre* Approaching Acting Theory, Practice and Professional Knowledge How do actors learn to act? How do they cultivate their ability to create tangible characters? How do they radiate presence and significance on stage? These are some of the questions
Ulrich Meyer-Horsch* I am sitting in the theatre, watching a performance of a classical play, directed by a famous director. The theatre and the actors have a good reputation. The play is strong; but tonight I am quite bored. What
James Haffner* Introduction Training opera singers to be singing actors has often been regarded as a difficult task. Psychological realism does not effectively serve the genre; traditional techniques do not adapt well consistently to the unique demands placed on opera
David Zinder* The eye of the artist concentrates on his pencil, the point moves, and the line dreams. Paul Klee ImageWork Training is a comprehensive form of image-based psycho-physical training which I have been developing for the past forty years.
Lenka Pichlíková* As a teacher of dramatic arts, professional actor and mime, who is also a theatre historian, I come to the study of Michael Chekhov’s career and pedagogy “on the lookout” for aspects of his technique that I can
Lisa Dalton* Michael Chekhov’s approach evolved over a lifetime on three continents through extraordinary socio-political-technological change. His writings, recorded lectures and the notes taken of his live teaching are very extensive. Like the famous story of the group of