Psychophysical Acting

Name: Psychophysical Acting
Brand: Taylor & Francis Ltd
Price: 86.99 AUD
Availability: BackOrder

An Intercultural Approach after Stanislavski

By: Phillip B. Zarrilli

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Paperback | 30 September 2008 | Edition Number 1

At a Glance

Paperback
258 Pages

Dimensions(cm)
24.6 x 17.4 x 1.2

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Psychophysical Acting is a direct and vital address to the demands of contemporary theatre on todaya (TM)s actor. Drawing on over thirty years of intercultural experience, Phillip Zarrilli aims to equip actors with practical and conceptual tools with which to approach their work. Areas of focus include:

an historical overview of a psychophysical approach to acting from Stanislavski to the present
acting as an a energeticsa (TM) of performance applied to a wide range of playwrights: Samuel Beckett, Martin Crimp, Sarah Kane, Kaite Oa (TM)Reilly and Ota Shogo
a system of training though yoga and Asian martial arts that heightens sensory awareness, dynamic energy, and in which body and mind become one
practical application of training principles to improvisation exercises.

Psychophysical Acting is accompanied by Peter Hultona (TM)s interactive DVD-ROM featuring exercises, production documentation, interviews, and reflection.

Industry Reviews

'Being taken step-by-step through these highly evocative and fascinating exercises and concepts of actor training by a master such as Zarrilli certainly qualifies as essential reading.' -- David Zinder 'An Essential Study' -- Anne Hill 'The exercises and concepts used in the book are amplified to great effect by the accompanying DVD-ROM, which is very well done and adds extended video and audio clips that demonstrate what his hands-on work looks like in training and performance.' -- Anne Hill 'The book proposes a radical paradigm shift within undergraduate and graduate acting and directing training and should be required reading for performers, directors, and theatre educators. It has the potential to transform the field in significant wasy by offering a new understanding of what constitutes engaging performance and actor training in the 21st century' -- Rachel Bowditch, The Drama Review

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