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Brian Timoney's World of Acting Show Episode 26: Acting Books That Will

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Brian Timoney's World of Acting Show Episode 26: Acting Books That Will Brian Timoney’s World of Acting Show Episode 26: Acting books that will make your acting great [0:00:00] One man – One mission: To rid the world of low-standard and mediocre acting, once and for all. Brian Timoney, the world’s leading authority on Method Acting, brings you powerful, impactful, volcanic acting and ‘business of acting’ techniques in his special Acting Podcasts. It’s Brian Timoney’s World of Acting – unplugged and unleashed. Brian: Hi everyone, it’s Brian Timoney here – and welcome onto today’s podcast. I’m joined with Joe. Joe, welcome! Joe: Thank you for having me, Brian. Brian: So, today we’re going to talk – you know, one of the things I get asked quite a bit, Joe, is can I recommend any books on acting and what are the best books to read on acting? And there’re a lot of books been published over the years on acting – what are the best ones? So, we’ll get mine out of the way right away, yes? Joe: Well, yes! Brian: You know, and I don’t want to be too sycophantic about this, right? But, yes, The Ultimate Guide to Method Acting by Brian Timoney – yes, I would definitely recommend that. Joe: So would I! He goes into a lot of detail on The Method and it really is a lot of detail, and you can learn so much from it – so get it! Buy it. Learn from us, you know? Brian: So, let’s park that one now, because I want to talk about I guess books that have influenced me – and I guess you’ll be talking about some that have influenced you… www.worldofacting.com Joe: Myself, yes. Brian: …that I think have made a difference to actors and acting training in general. Maybe let’s start at the beginning: Stanislavski’s An Actor Prepares has been widely recognised as… Joe: The cornerstone. Brian: …the source book of acting training. Joe: Yes; since he wrote it, yes. Brian: And, I mean, there’s some really interesting – obviously there’s very important work in there. It can get a little bit heavy at times I’ve found… Joe: Yes. [0:02:00] Brian: But I think as an actor you should have a copy and make it a point to read through it because there’s some really – and I guess it’s really the foundation of The Method is where it all came from. And Stanislavski being a Russian geezer at the end of the 1800s, the early 1900s, you know, he really revolutionised actor training. He really got people to think about what was creating real and believable acting as opposed to, at that period in history, “declaimed” acting and sort of type of work. So that was one book that I’d definitely recommend. Joe: And also that I recommend as well. It’s always a little bit tricky with books as well because we’re actors, and acting is sort of threefold, isn’t it? It’s emotional, it’s physical and it’s mental – you know, psychological. And when you read a book, it can be quite a sort of a passive kind of experience, can’t it, Brian? Brian: Yes. Joe: You know, you’re going to read it and it’s going to sort of wash over you a little bit and you’ll forget about it – but with acting books, some of them stayed with me for quite a long, and I go back to them as a kind of a reference point almost, it’s like how different am I as a person? Do I understand this book differently? And one of the www.worldofacting.com ones that I always enjoyed was Richard Boleslawski’s Six Lessons, which is a very, very – it’s a simple, very small book; it’s not overcomplicated, you know? Brian: Yes. Joe: And he sort of writes it like a screenplay, like a play, where the girl comes to him and wants to be a brilliant actor and he sort of sets her these tasks, and each time she gets better and better as she develops through these six simple exercises. And they’re not simple; it’s just the way that Richard Boleslawski was so clever at putting that into a book. And I’ve always found that one to be really, really compelling and very enlightening, because when I first – and it was one of the first books I ever read on acting, and I thought, ‘Oh, they’re all this simple and easy,’ whereas some of them aren’t! [laughs] [0:04:30] Brian: [laughs] Yes! Joe: It’s like you’ve really got to trudge through some mud to get to some books – so we’re trying to give you an option as well. And Richard Boleslawski’s book was written I think, if I’m not mistaken, in the mid-1930s, and it’s still relevant today. Brian: Yes. Because like Boleslawski was one of Stanislavski’s troupes of actors... Joe: Yes. Brian: …from what I understand, and he stayed in New York. Joe: He stayed in New York with Maria Ouspenskaya and he developed… Brian: And ultimately he taught Lee Strasburg. Joe: Yes; Lee went to him for lessons, yes. Brian: Which brings us on to Lee Strasburg, because there’s a few books around The Method that are either – well, one written by Lee and one in which is taped sessions at the Actors’ Studio. So, the first one that Lee wrote himself was A Dream of Passion, which I think is a very interesting book. It kind of gives you the background to The Method more than anything else, and some concepts. www.worldofacting.com Joe: Yes – and where it evolved from, and the concepts and how he evolved those, yes. Brian: But the recorded sessions – it’s called Strasburg at the Studio. Joe: At the Actors’ Studio, yes. Brian: Yes. And I think that is a really, really interesting book because it’s the closest you’re going to get to hearing Strasburg in session, if you like, in class. So it’s basically taped sessions of Lee Strasburg teaching at the studio, and then somebody took those recordings away and transcribed it into a book. The only thing I would say about it is unless you are going through The Method, it can be very difficult to understand some of the finer detail. [0:06:15] Joe: The terminology he’s using and what he’s worked on. Brian: And what he’s getting at. But I’ll tell you; if you are learning The Method, that book is fantastic because it really goes into some detail. Joe: It really does – and he goes into a lot of detail about the craft of theatre acting and of acting, the problems that arise with actors, the problems that arise in actors and us being human beings, and he really tackles a lot of different individual problems, and you could find something in there that’s really relevant to you, with an actor who presented work in front of Lee and he responds and gives them feedback and critiques, and helps them – which may be useful to you as an actor if you’re listening and you read this book and you start to understand a little bit more about The Method; you might be able to connect to it as well. Brian: Yes. Joe: I actually personally find it more interesting than the Dream of Passion. I get the Dream of Passion because it’s such an important book for us, and I get the relevance, but hearing him talk, you know… Brian: I totally agree, yes. www.worldofacting.com Joe: …you know, I feel like, ‘Ah, yes – this lesson’s really relevant to me,’ or, ‘Oh, wow – how amazing that problem occurred for that actor,’ and how he solves the problem. Brian: Yes, and I think when you’re going through the technique, you’re learning the technique, you can see the issues that come up and you face as well, and you can hear how a lot of them are resolved. Actually it reminds me of another book as well, which came much later, by Eric Morris, which is No Acting Please. Joe: Yes – or No Acting Required – or No Acting Please. Brian: I think it’s called No Acting Please. [0:08:00] Joe: Yes. Brian: And it’s a very interesting book because Eric Morris was somebody who learned The Method and he went through all The Method, but he also started to, in his book and his way of working, started to draw attention to the fact of the actor themselves, before they even get to the technique in a way, preparing their instrument – and the psychology behind what we bring to acting; he says, for example, conditioning and so on that we bring to the work – how do you overcome that, even before you get to work on the technique and beyond? Joe: That’s right. I think he does deserve that I mention who it was, because he did sort of start to tap into something that Lee, or possibly others – it’s not that they didn’t care about it but maybe they’d overseen or they were not quite maybe enough time to investigate – and Eric Morris’ small little exercises in there; he explains some things. I find them very, very relevant. Very, very powerful as well. Brian: Yes, because I’ve followed a bit of this and I’ve thought in a way I think Strasburg might have gone into this sort of area… Joe: Yes.
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