DOCSLIB.ORG

The Art of Film Acting: a Guide for Actors and Directors

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

The Art of Film Acting This Page Intentionally Left Blank The Art of Film Acting: A Guide for Actors and Directors Jeremiah Comey Focal Press is an imprint of Elsevier Science. Copyright © 2002 by Elsevier Science (USA) All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. Recognizing the importance of preserving what has been written, Elsevier Science prints its books on acid-free paper whenever possible. Library of Congress Cataloging-in-Publication Data Comey, Jeremiah. The art of film acting : a guide for actors and directors / Jeremiah Comey. p. cm. Includes bibliographical references and index. ISBN 0-240-80507-0 (pbk. : alk. paper) 1. Motion picture acting. I. Title. PN1995.9A26 C65 2002 791.43'028--dc21 2001058628 British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library. The publisher offers special discounts on bulk orders of this book. For information, please contact: Manager of Special Sales Elsevier Science 225 Wildwood Avenue Woburn, MA 01801-2041 Tel: 781-904-2500 Fax: 781-904-2620 For information on all Focal Press publications available, contact our World Wide Web home page at: www.focalpress.com 10 9 8 7 6 5 4 3 2 1 Printed in the United States of America To my wife, Janet, who taught me what love really means, and my daughters, Jessica and Megan, who have allowed me to experience a second childhood. This Page Intentionally Left Blank Contents Preface xi Acknowledgments xiii 1. The Exercise 1 Transcript of two actors doing a scene in class. Jeremiah interacts with them and guides them through the scene using the Five Arts 1. Summary 9. Actor Practice 9. 2. Stage versus Film Acting 10 Preparing for a Role 11. The Demands of Performance 12. One Good Performance 13. Projecting 13. Film and Theater Close-Ups 14. Emotions and Feelings 14. Subtext 15. Camera and Proscenium Arch 18. Personality and Character 19. Dialogue 22. Monologues 22. Film Experience versus Stage Experience 24. Reacting 25. Summary 26. Actor Practice 27. 3. Becoming a Great Actor 28 The Actor’s Responsibility 28. Casablanca 28. Acting Is Being and Awareness 29. The Five Arts of Film Acting 30. The Power of Relating 36. Acting “On the Nose” 37. Listen to the Other Actor 37. Acting Is a Profession 38. Summary 38. Actor Practice 38. 4. Sight Reading 42 How Sight Reading Works 42. How to Sight Read 43. Importance of Sight Reading 45. Second-Guessing the vii viii CONTENTS Director 45. Multiple Auditions 46. Helpful Hints 46. Summary 46. Actor Practice 47. 5. The Art of Concentration 48 Concentration 48. Internal Rap 48. Interest Is the Focal Point of Concentration 49. Feedback 50. Emotions 50. Happiness, Sadness, Anger, Fear, Love 52. Differentiating between the Emotions 59. Laughter and Sadness 60. Focused Concentration 63. How to Increase Your Concentration 63. Summary 66. Actor Practice 67. 6. The Art of Not Knowing 68 Everything Happens As If for the First Time 68. Being Intimate without Taking It Personally 74. Beginner’s Mind and Logical Mind 74. After the Scene, Forget It 74. Opinions and Beliefs Will Destroy You 75. Play the Character, Not the Stereotype 75. Judgment Is a Trap 78. Leave Your Feelings on the Set 78. Self-Criticism 79. Use Your Beginner’s Mind to Not Know 80. Summary 80. Actor Practice 80. 7. More on the Art of Not Knowing 81 The First Time 81. Bad Acting on Film Is the Triumph of Logic 88. Don’t Be Safe 89. The Power of Not Knowing 92. Memorizing and Not Knowing 93. Repeating an Emotional Experience 94. Discover Facts by Concentrating on the Other Actor 94. Judgments Ruin Your Acting 97. A Genuine Experience 97. Summary 98. Actor Practice 99. 8. Still More on the Art of Not Knowing 100 The Director’s Ideas 100. Ideas and the Actors 101. The Director’s Vision 101. Good Actors Make Things Happen 106. Directors Use Blocking to Elicit Responses 110. A Director’s Scene Preparation 111. Importance of the Art of Not Knowing 114. Summary 115. Actor Practice 115. 9. The Art of Acceptance 117 Acceptance 117. Play the Game 120. Trust the Roller Coaster 124.Having Fun 125.Sets and Locations Are Real 128. Summary 128. Actor Practice 129. Contents ix 10. The Art of Giving and Receiving 131 Giving and Receiving 131. Giving, Receiving, and Subtext 137. Accepting Responsibility 138. The Relating Exercise 141. Different Emotional Levels 141. There Are No Officially Sanctioned Responses 146. Summary 147. Actor Practice 147. 11. The Senses 148 See through Untainted Eyes 148. The Abilities 151. The Maestro’s Ears 153. The Sense of Touch 158. Touching to Relax 158. Touching to Stimulate Love 160. Touching to Provoke Anger 160. Touching to Stimulate Laughter 163. Smell and Taste 164. Summary 164. Actor Practice 165. 12. Intimacy, Empathy, and Intuition 167 You Are What You Are: The First Ingredient of Intimacy 167. Intimacy: The Quality of Good Actors 168. Memory and Fear: The Enemies of Intimacy 168. Empathy 171. Intimacy and Empathy 172. Scenes “Not Worthy” of an Actor 174. Physical Actions 176. Intuition: Your Sixth Sense 177. The Creative Inner Child 179. Words That Prevent Good Acting 183. Act, Don’t Think 185. Summary 185. Actor Practice 186. 13. The Audition 187 Getting Ready to Audition 187. Casting for Type.188. Film and Stage Casting 189. Auditioning 190. Film Audition 191. Acting in Plays 192. Approaches to Acting 192. Physical and Emotional Aspects of Characterization 195. Imagination 202. Subtext 202. Types of Actors 205. The Message You Send 206. Summary 207. Actor Practice 207. 14. More on the Audition 209 The Casting Director 209. The Job 210. Acting Is a Business 210. Why Actors Don’t Get Cast 213. The Differences between the Relating Exercise and the Audition 215. The Art of Not Knowing 216. The “Where.” 218. Sides 219. Fear 219. Relaxing 220. Benefit of the Relating Exercise in Audition 220. Skills for the Audition 220. Preparation for Audition 225. x CONTENTS The Audition 226. Commercial Improvisation 228. Comedic Improvisation 229. Dramatic Improvisation 229. Summary 230. Actor Practice 231. 15. The Comedy Audition 233 Comedy and Exposition 233. Characterization 238. Absurd Situations 239. Environment 241. Comedy Patterns 241. Auditioning for Comedy 242. Find the Humor 243. The Elements of Comedy 243. Comic Actors 254. Physical Comedy or Farce 255. Punching and Undercutting 257. Rhythm, Tempo, and Pacing 258. Rehearsal 260. Emotional Ideas 261. Preparing for the Comedy Audition 265. In the Audition 265. Summary 266. Actor Practice 267. 16. Conclusion 268 How It Happens 268. Summary 272. Afterword 273 How to Get in Touch with Jeremiah 275. Bibliography 276 Videography 278 Index 282 Preface Film acting, like all art, is a form of communication, a relation- ship with another human being on an emotional level. Vincent van Gogh’s art is an inspiration because he put the most meaningful of ingredients into his paintings—himself. Just as great artists define themselves by their art, so do brilliant film actors communicate through their quality, which is personality combined with talent. Acting is probably the most competitive business in the world because, for one thing, everyone thinks they can act. If you want to paint, sculpt, or com- pose music, everyone accepts the necessity for talent and training. No one in their right mind would think of being a professional concert pianist without having started practice at age four or five. But almost everyone thinks acting is easy. It is not; but we all can act if we first get out of our own way and forget all the social and personal inhibitions that have been laid upon us by our parents, our peers, and society. If you want to be a film actor, don’t let anyone discour- age you from your dream; but don’t assume that it is quick and easy. Acting is an art, and like the other arts, it demands that you study and mas- ter the craft. You also need to be able to expose your true feelings. It is easy to cry when you fight with a lover or watch a tearjerker. But it is another matter to cry in an audition or in a scene. In front of the camera, it can be a nightmare for an untrained actor simply to be believable and emotionally honest in a scene as simple as a quiet talk over a cup of coffee. In your everyday life it’s hard to forget your inhibitions and, like a child, be your natural self. To become a good actor, you have to let the world see your emotions. Sir Laurence Olivier, one of the greatest actors, said, “This is not an occupation for adults.” Yet it is possible for a fifty-year-old woman who is inhibited to come into my class with no previous training and within weeks be giving a good film per- formance. She will have relapses and will have to keep working hard, but through the “Relating Exercise” she is learning how to override her intellect and show her emotions. It’s not easy to take off your emotional clothing and xi xii PREFACE show your real self, but this is what has to happen when you are in a film close- up. Experiences, family, friends, and everyone we have ever met have made a personal and permanent impact on our inner lives.
Recommended publications
  • Cambridge Companion Shakespeare on Film

    Cambridge Companion Shakespeare on Film

    This page intentionally left blank Film adaptations of Shakespeare’s plays are increasingly popular and now figure prominently in the study of his work and its reception. This lively Companion is a collection of critical and historical essays on the films adapted from, and inspired by, Shakespeare’s plays. An international team of leading scholars discuss Shakespearean films from a variety of perspectives:as works of art in their own right; as products of the international movie industry; in terms of cinematic and theatrical genres; and as the work of particular directors from Laurence Olivier and Orson Welles to Franco Zeffirelli and Kenneth Branagh. They also consider specific issues such as the portrayal of Shakespeare’s women and the supernatural. The emphasis is on feature films for cinema, rather than television, with strong cov- erage of Hamlet, Richard III, Macbeth, King Lear and Romeo and Juliet. A guide to further reading and a useful filmography are also provided. Russell Jackson is Reader in Shakespeare Studies and Deputy Director of the Shakespeare Institute, University of Birmingham. He has worked as a textual adviser on several feature films including Shakespeare in Love and Kenneth Branagh’s Henry V, Much Ado About Nothing, Hamlet and Love’s Labour’s Lost. He is co-editor of Shakespeare: An Illustrated Stage History (1996) and two volumes in the Players of Shakespeare series. He has also edited Oscar Wilde’s plays. THE CAMBRIDGE COMPANION TO SHAKESPEARE ON FILM CAMBRIDGE COMPANIONS TO LITERATURE The Cambridge Companion to Old English The Cambridge Companion to William Literature Faulkner edited by Malcolm Godden and Michael edited by Philip M.
  • TRAINING the YOUNG ACTOR: a PHYSICAL APPROACH a Thesis

    TRAINING the YOUNG ACTOR: a PHYSICAL APPROACH a Thesis

    TRAINING THE YOUNG ACTOR: A PHYSICAL APPROACH A Thesis Presented to The Graduate Faculty of The University of Akron In Partial Fulfillment of the Requirements for the Degree Master of Arts Anthony Lewis Johnson December, 2009 TRAINING THE YOUNG ACTOR: A PHYSICAL APPROACH Anthony Lewis Johnson Thesis Approved: Accepted: __________________________ __________________________ Advisor Dean of the College Mr. James Slowiak Dr. Dudley Turner __________________________ __________________________ Faculty Reader Dean of the Graduate School Mr. Durand Pope Dr. George R. Newkome __________________________ __________________________ School Director Date Mr. Neil Sapienza ii TABLE OF CONTENTS Page CHAPTER I. INTRODUCTION TO TRAINING THE YOUNG ACTOR: A PHYSICAL APPROACH...............................................................................1 II. AMERICAN INTERPRETATIONS OF STANISLAVSKI’S EARLY WORK .......5 Lee Strasberg .............................................................................................7 Stella Adler..................................................................................................8 Robert Lewis...............................................................................................9 Sanford Meisner .......................................................................................10 Uta Hagen.................................................................................................11 III. STANISLAVSKI’S LATER WORK .................................................................13 Tension
  • Tom Hanks Halle Berry Martin Sheen Brad Pitt Robert Deniro Jodie Foster Will Smith Jay Leno Jared Leto Eli Roth Tom Cruise Steven Spielberg

    Tom Hanks Halle Berry Martin Sheen Brad Pitt Robert Deniro Jodie Foster Will Smith Jay Leno Jared Leto Eli Roth Tom Cruise Steven Spielberg

    TOM HANKS HALLE BERRY MARTIN SHEEN BRAD PITT ROBERT DENIRO JODIE FOSTER WILL SMITH JAY LENO JARED LETO ELI ROTH TOM CRUISE STEVEN SPIELBERG MICHAEL CAINE JENNIFER ANISTON MORGAN FREEMAN SAMUEL L. JACKSON KATE BECKINSALE JAMES FRANCO LARRY KING LEONARDO DICAPRIO JOHN HURT FLEA DEMI MOORE OLIVER STONE CARY GRANT JUDE LAW SANDRA BULLOCK KEANU REEVES OPRAH WINFREY MATTHEW MCCONAUGHEY CARRIE FISHER ADAM WEST MELISSA LEO JOHN WAYNE ROSE BYRNE BETTY WHITE WOODY ALLEN HARRISON FORD KIEFER SUTHERLAND MARION COTILLARD KIRSTEN DUNST STEVE BUSCEMI ELIJAH WOOD RESSE WITHERSPOON MICKEY ROURKE AUDREY HEPBURN STEVE CARELL AL PACINO JIM CARREY SHARON STONE MEL GIBSON 2017-18 CATALOG SAM NEILL CHRIS HEMSWORTH MICHAEL SHANNON KIRK DOUGLAS ICE-T RENEE ZELLWEGER ARNOLD SCHWARZENEGGER TOM HANKS HALLE BERRY MARTIN SHEEN BRAD PITT ROBERT DENIRO JODIE FOSTER WILL SMITH JAY LENO JARED LETO ELI ROTH TOM CRUISE STEVEN SPIELBERG CONTENTS 2 INDEPENDENT | FOREIGN | ARTHOUSE 23 HORROR | SLASHER | THRILLER 38 FACTUAL | HISTORICAL 44 NATURE | SUPERNATURAL MICHAEL CAINE JENNIFER ANISTON MORGAN FREEMAN 45 WESTERNS SAMUEL L. JACKSON KATE BECKINSALE JAMES FRANCO 48 20TH CENTURY TELEVISION LARRY KING LEONARDO DICAPRIO JOHN HURT FLEA 54 SCI-FI | FANTASY | SPACE DEMI MOORE OLIVER STONE CARY GRANT JUDE LAW 57 POLITICS | ESPIONAGE | WAR SANDRA BULLOCK KEANU REEVES OPRAH WINFREY MATTHEW MCCONAUGHEY CARRIE FISHER ADAM WEST 60 ART | CULTURE | CELEBRITY MELISSA LEO JOHN WAYNE ROSE BYRNE BETTY WHITE 64 ANIMATION | FAMILY WOODY ALLEN HARRISON FORD KIEFER SUTHERLAND 78 CRIME | DETECTIVE
  • A Reappraisal of Three Character Actors from Hollywood’S Golden Age

    A Reappraisal of Three Character Actors from Hollywood’S Golden Age

    University of the Incarnate Word The Athenaeum Theses & Dissertations 12-2015 Second-Billed but not Second-Rate: A Reappraisal of Three Character Actors From Hollywood’s Golden Age Candace M. Graham University of the Incarnate Word, [email protected] Follow this and additional works at: https://athenaeum.uiw.edu/uiw_etds Part of the Communication Commons, and the Film and Media Studies Commons Recommended Citation Graham, Candace M., "Second-Billed but not Second-Rate: A Reappraisal of Three Character Actors From Hollywood’s Golden Age" (2015). Theses & Dissertations. 70. https://athenaeum.uiw.edu/uiw_etds/70 This Thesis is brought to you for free and open access by The Athenaeum. It has been accepted for inclusion in Theses & Dissertations by an authorized administrator of The Athenaeum. For more information, please contact [email protected]. SECOND-BILLED BUT NOT SECOND-RATE: A REAPPRAISAL OF THREE CHARACTER ACTORS FROM HOLLYWOOD’S GOLDEN AGE by Candace M. Graham A Thesis Presented to the Faculty of the University of the Incarnate Word in partial fulfillment of the requirements for the degree of MASTER OF ARTS University of the Incarnate Word December 2015 ii Copyright 2015 by Candace M. Graham iii ACKNOWLEDGEMENTS I wish to thank Dr. Hsin-I (Steve) Liu for challenging me to produce a quality thesis worthy of contribution to scholarly literature. In addition, thank you for the encouragement to enjoy writing. To Robert Darden, Baylor University communications professor, friend, and mentor whose example in humility, good spirit, and devotion to one’s passion continues to guide my pursuit as a classic film scholar.
  • More Than Repetition: Meisner and BA Performance Training

    More Than Repetition: Meisner and BA Performance Training

    Theatre/Practice: The Online Journal of the Practice/Production Symposium of the Mid America Theatre Conference Volume 6, 2017 More Than Repetition: Meisner and BA Performance Training By Dennis Schebetta Introduction The Meisner technique has been taught successfully as a concentrated two-year sequence in private studios and MFA programs across the country. But is Meisner an “all-or- nothing” approach, or is “a little Meisner” better than none at all? As Head of MFA Performance Pedagogy and Assistant Professor at the University of Pittsburgh, I began to revise the undergraduate BA acting curriculum in 2014. The curriculum was primarily a Stanislavski-based training with some integration of Uta Hagen. More advanced acting classes examined heightened language and played with “styles,” using textbooks that seemed outdated. As there had been transitions in the faculty of the performance area of the department, many instructors taught from different methods; therefore, there existed an inconsistency of concepts and terminology throughout our courses. My primary goal in revising the curriculum was to give students a solid foundation of skills and maintain consistency throughout their educational journey. As my background was training in Meisner as well as other physical techniques, I searched for ways of incorporating multiple techniques in order to give students multiple entries into their craft. While doing so, I had several questions about integrating Meisner’s exercises with other techniques. Is it beneficial to use only his Word Repetition
  • Kickboxer Retaliation with Boxset Press Release.Indd

    Kickboxer Retaliation with Boxset Press Release.Indd

    PRESS RELEASE KICKBOXER: RETALIATION (15) Fast Sell: RELEASE DATE Get ready to be body slammed in this action-packed blockbuster sequel, with martial arts icon Jean-Claude On Digital Download 26th January 2018 Van Damme, Highlander star Christopher Lambert, boxing legend Mike Tyson, and the man mountain Hafþór Júlíus On DVD & Blu-ray 5th March 2018 Björnsson from Game of Thrones. KEY TALENT INFORMATION Synopsis: • Jean-Claude Van Damme One year after the events of Kickboxer: Vengeance, Kurt (Bloodsport, Hard Target) Sloan has vowed never to return to Thailand. But while • Christopher Lambert he is preparing for an MMA title shot, he is drugged and (Highlander, Fortress) wakes up in a Thai prison. His captors want him to face • Mike Tyson a colossus named Mongkut - in return, Sloan will get (The Hangover, Rocky Balboa) • Sara Malakul Lane $2million dollars and his freedom. If he doesn’t fi ght, (Kickboxer: Vengeance) his wife will die. So Sloan has no other choice but to • Alain Moussi undergo his most rigorous training yet, under some very (Kickboxer: Vengeance; Stunt performer Suicide unexpected mentors, in order to take on this dreaded Squad, Warcraft, X-Men: Apocalypse) opponent. • Hafþór Júlíus Björnsson (Game of Thrones) We like it because: • Ronaldinho Gaúcho (Former Brazilian Footballing Legend) “It’s time for you to defend your title - in another fi ght to the • Dimitri Logothetis death!” (Director, Body Shot, The Lost Angel) This follow up to last year’s sensational Kickboxer: CONTACT/ORDER MEDIA Vengeance sees Alain Moussi and Jean-Claude Van Damme Sadari Cunningham - [email protected] teamed up again as Kurt Sloan and mentor Durand - this time, with Sloan facing down one of the screen’s biggest and most brutal villains, in the shape of underground champion Mongkut, played by the incredible Hafþór Júlíus Björnsson, famous as unstoppable ‘The Mountain’ Gregor 2 John Street, London, WC1N 2ES Clegane in Game of Thrones.
  • Acting Hysteria: an Analysis of the Actress and Her Part

    Acting Hysteria: an Analysis of the Actress and Her Part

    City University of New York (CUNY) CUNY Academic Works Dissertations, Theses, and Capstone Projects CUNY Graduate Center 1992 Acting Hysteria: An Analysis of the Actress and Her Part Lydia Stryk The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/4291 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy.
  • Kurzus Kódja(I): FLM-251.04 Kurzus Címe: Játékfilmes Forgatókönyvírás

    Kurzus Kódja(I): FLM-251.04 Kurzus Címe: Játékfilmes Forgatókönyvírás

    Kurzus kódja(i): FLM-251.04 Kurzus címe: Játékfilmes forgatókönyvírás. A klasszikus történetmesélés alapjai I. Tanár neve: Hegedüs Bálint, Krigler Gábor, Lovas Balázs Kurzus időpontja, helye: Csütörtök, 13.00-16.00; Stúdió Vetítések időpontja, helye: − Kurzus típusa: Előadás/szeminárium Kurzus leírása: Ott van a fejedben a magyar mozit megváltó filmötlet, de nem tudod, hogyan öntsd formába? Ha ez a helyzet, jelentkezz a szeptemberben induló forgatókönyvírói kurzusra, és tanuld meg a játékfilmes és televíziós sorozatírás alapjait, miközben mi segítünk kifejleszteni az ütőképes forgatókönyvet az ötletedből. Cáfolhatatlan tény: a forgatókönyvírás nem impressziókra épülő művészet, hanem egy komoly szakma, tanulható szabályokkal és működőképes módszerekkel, melyek segítenek kreativitásodat úgy kibontani, hogy a nézők számára is élvezetes, a piacon is eladható filmélmény legyen a végeredmény. A kedd délutánonként rendezett kurzus folyamán nemcsak a játékfilmes és televíziós forgatókönyvírás nemzetközileg elismert alapjait sajátíthatod el az előadásokon, de a workshopok során az oktatókkal és hallgatókkal végzett közös kreatív munka keretében fejlesztheted ki filmötleted a szinopszison, karakterleírásokon és treatmenten át a kész forgatókönyvig. Mindezeket házi feladat formájában kell megírnod alkalomról alkalomra, tehát csak az jelentkezzen, akiben van szorgalom, ugyanis mi mindenkit gyakorlati munkára sarkallunk, és mindenki agyát megmozgatjuk! Az oktatók: Krigler Gábor: story editor - Barátok közt 1999-2003, az HBO Született lúzer c. sorozatának írója, a (folyt. köv.) - Hogyan írjunk tévésorozatot c. könyv szerzője, a CEU oktatója Lovas Balázs: a Tesó, Kész cirkusz és Konyec c. filmek forgatókönyvírója, a 2003-as Magyar Filmszemle legjobb fiatal forgatókönyvírója, az HBO Született lúzer c. sorozatának írója, a magyar.film.hu szerkesztője Hegedüs Bálint: a 2009-es Magyar Filmszemle legjobb forgatókönyvírója, a Mázli és Zsiguli c.
  • Catalogue of Photographs of Performers at the Embassy Theatre

    Catalogue of Photographs of Performers at the Embassy Theatre

    Catalogue of Photographs of Performers and Shows in the Archives of the Embassy Theatre Foundation The archives of the Embassy Theatre Foundation hold more than 3000 artifacts, including more than 600 photographs of vaudevillians inscribed to Bud Berger (long-time stage man- ager at the Embassy Theatre, known as the Emboyd until 1952); more than 300 posters, playbills, programs, stools, and even guitars signed by the stars and casts of shows that have played at the Embassy Theatre over the past forty years, rang- ing from classic and current Broadway shows to acrobatic groups, choral ensembles, dance shows, ballet, stand-up comedians, rock bands, country singers, travel films, silent films, theatre organists, and so on; and hundreds of publicity photographs of performers, shows, and events at the theatre, primarily from the period following the establishment of the Embassy Theatre Foundation and its rescue of the theatre from the wrecking ball in 1975; and a nearly complete run of the journal of the American Theatre Organ Society. The archive is now almost fully catalogued and preserved in archival housing. Earlier excerpts from the catalogue (available on the Archives page of the Embassy Theatre’s web site) cover the photographs inscribed to Bud Berger and the posters, playbills, programs, stools, and so on from later shows at the Embassy. This is the third excerpt, covering the public- ity photographs of the last forty-five years and a few photographs of earlier events, Bud Berger, and other members of the stage crew. The publicity photographs are primarily of individ- ual performers, but a few shows are presented as well, including Ain’t Misbehavin’, Annie, Barnum, Bubbling Brown Sugar, Cabaret, California Suite, Cats, A Christ- mas Carol, Dancin’, Evita, Gypsy, I'm Getting My Act Together And Taking It On The Road, Joseph and the Amazing Technicolor Dreamcoat, Peter Pan, Same Time Next Year, Side by Side by Sondheim, and Ziegfeld: A Night at the Follies.
  • P E R F O R M I N G

    P E R F O R M I N G

    PERFORMING & Entertainment 2019 BOOK CATALOG Including Rowman & Littlefield and Imprints of Globe Pequot CONTENTS Performing Arts & Entertainment Catalog 2019 FILM & THEATER 1 1 Featured Titles 13 Biography 28 Reference 52 Drama 76 History & Criticism 82 General MUSIC 92 92 Featured Titles 106 Biography 124 History & Criticism 132 General 174 Order Form How to Order (Inside Back Cover) Film and Theater / FEATURED TITLES FORTHCOMING ACTION ACTION A Primer on Playing Action for Actors By Hugh O’Gorman ACTION ACTION Acting Is Action addresses one of the essential components of acting, Playing Action. The book is divided into two parts: A Primer on Playing Action for Actors “Context” and “Practice.” The Context section provides a thorough examination of the theory behind the core elements of Playing Action. The Practice section provides a step-by-step rehearsal guide for actors to integrate Playing Action into their By Hugh O’Gorman preparation process. Acting Is Action is a place to begin for actors: a foundation, a ground plan for how to get started and how to build the core of a performance. More precisely, it provides a practical guide for actors, directors, and teachers in the technique of Playing Action, and it addresses a niche void in the world of actor training by illuminating what exactly to do in the moment-to-moment act of the acting task. March, 2020 • Art/Performance • 184 pages • 6 x 9 • CQ: TK • 978-1-4950-9749-2 • $24.95 • Paper APPLAUSE NEW BOLLYWOOD FAQ All That’s Left to Know About the Greatest Film Story Never Told By Piyush Roy Bollywood FAQ provides a thrilling, entertaining, and intellectually stimulating joy ride into the vibrant, colorful, and multi- emotional universe of the world’s most prolific (over 30 000 film titles) and most-watched film industry (at 3 billion-plus ticket sales).
  • 3. Groundhog Day (1993) 4. Airplane! (1980) 5. Tootsie

    3. Groundhog Day (1993) 4. Airplane! (1980) 5. Tootsie

    1. ANNIE HALL (1977) 11. THIS IS SPINAL Tap (1984) Written by Woody Allen and Marshall Brickman Written by Christopher Guest & Michael McKean & Rob Reiner & Harry Shearer 2. SOME LIKE IT HOT (1959) Screenplay by Billy Wilder & I.A.L. Diamond, Based on the 12. THE PRODUCERS (1967) German film Fanfare of Love by Robert Thoeren and M. Logan Written by Mel Brooks 3. GROUNDHOG DaY (1993) 13. THE BIG LEBOWSKI (1998) Screenplay by Danny Rubin and Harold Ramis, Written by Ethan Coen & Joel Coen Story by Danny Rubin 14. GHOSTBUSTERS (1984) 4. AIRplaNE! (1980) Written by Dan Aykroyd and Harold Ramis Written by James Abrahams & David Zucker & Jerry Zucker 15. WHEN HARRY MET SALLY... (1989) 5. TOOTSIE (1982) Written by Nora Ephron Screenplay by Larry Gelbart and Murray Schisgal, Story by Don McGuire and Larry Gelbart 16. BRIDESMAIDS (2011) Written by Annie Mumolo & Kristen Wiig 6. YOUNG FRANKENSTEIN (1974) Screenplay by Gene Wilder and Mel Brooks, Screen Story by 17. DUCK SOUP (1933) Gene Wilder and Mel Brooks, Based on Characters in the Novel Story by Bert Kalmar and Harry Ruby, Additional Dialogue by Frankenstein by Mary Wollstonecraft Shelley Arthur Sheekman and Nat Perrin 7. DR. STRANGELOVE OR: HOW I LEARNED TO STOP 18. There’s SOMETHING ABOUT MARY (1998) WORRYING AND LOVE THE BOMB (1964) Screenplay by John J. Strauss & Ed Decter and Peter Farrelly & Screenplay by Stanley Kubrick and Peter George and Bobby Farrelly, Story by Ed Decter & John J. Strauss Terry Southern 19. THE JERK (1979) 8. BlaZING SADDLES (1974) Screenplay by Steve Martin, Carl Gottlieb, Michael Elias, Screenplay by Mel Brooks, Norman Steinberg Story by Steve Martin & Carl Gottlieb Andrew Bergman, Richard Pryor, Alan Uger, Story by Andrew Bergman 20.
  • HU Da Nang Base

    HU Da Nang Base

    Dollir N it P n M Hitt W«ik ttiSd ?»»• M. INS 14,169 «r (k» Aodlt "«AMUI i# OiroHlitlM MaHehm&tmr^A City of Village Charm \ * y G L LXXXIV, NO. M l (TWBNTT.FOUR PA6Bft->TW0 SECTIONS) ' MANCHESTER, CONN., .THURSDAY, JULY 1, i m Baldwin To Head Conclave HARTFORD (AP) — Grov. John N. Dempsey called on delegates to the third constitutional con­ vention in Connecticut his­ tory today to do their ut­ most toward “ the swift and satisfactory dis­ charge" of the precise duties facing them. "Our ConnecUcut oonatltution does not, according to judicial opinion, give every citizen his right to an equal vote,” Demp­ sey told the opening session that met in an atmosphere of tradi­ tion and bipartisan accord. (Herald Photo by O(lara) "The very first objective of this convention, then, must be Judge House (right) Receives Oath from Chief Justice Kiug to correct those porUons of our consUtutton which have in­ fringed upon these rights of the people. ^ "L e t us apply our maximum Judge House Takes Oath efforts to the swift and satis­ factory discharge of the precise duties facing us.” The opening session of the convenUon, the first since 1602, Gov. Dempsey Addresses Constitiftional .Cbnventioii Odlq^ates Of State Supreme Court was held in the Old State House where the existing constituUon was written at a convention in B;r SOI. R. COHEN < Chief Justice ^ in g said, "1^ Justice House was appointed 1818. Morse Urges Peace Talks In a brief ceremony, wit­ consider,j-_ it... a- high'’ honor and a I Supreme Court of Er- Dempsey said the convention Jet Breaks nessed by about 60 state privilege to' Install the oath of roM wAiile eeevlng as chief wiU give "new expression to our office to my friend, Charles' Judge of the State Superior Connecticut tradition disnitaries, relatives and House or.