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Transition: Transformation

Sinéad Rushe

Sinéad Rushe is a lecturer in Acting and Movement on the BA (Hons) in Acting at Central School of Speech and Drama, London (CSSD) and teaches the Michael Chekhov Technique for acting teachers and for professional actors and directors (through Living Pictures and The Actor's Centre). She studied the Michael Chekhov technique intensively at the Michael Chekhov Studio in New York and London as well as in Paris. A director, performer and acting teacher, one of her recent works, Out of Time, was nominated for a 2010 Olivier Award and 2009 Dance Critic's Circle Award for its London run. Sinéad is the co-translator into French, with Sarah Hirschmuller, of several works by English playwright Howard Barker. Author affiliation details are correct at time of print publication.

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Michael Chekhov’s Acting Technique : A Practitioner’s Guide

Methuen Drama, 2019

Books

...‘The desire and ability to transform oneself are the very heart of the actor’s nature’ Transformation as a law of composition Chekhov names transformation as his ‘third law of composition’ (TA, 94), in addition to the first two laws we...

The Third of the Four Brothers: Feeling of Beauty

Sinéad Rushe

Sinéad Rushe is a lecturer in Acting and Movement on the BA (Hons) in Acting at Central School of Speech and Drama, London (CSSD) and teaches the Michael Chekhov Technique for acting teachers and for professional actors and directors (through Living Pictures and The Actor's Centre). She studied the Michael Chekhov technique intensively at the Michael Chekhov Studio in New York and London as well as in Paris. A director, performer and acting teacher, one of her recent works, Out of Time, was nominated for a 2010 Olivier Award and 2009 Dance Critic's Circle Award for its London run. Sinéad is the co-translator into French, with Sarah Hirschmuller, of several works by English playwright Howard Barker. Author affiliation details are correct at time of print publication.

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Michael Chekhov’s Acting Technique : A Practitioner’s Guide

Methuen Drama, 2019

Books

...‘Let us look at manual labourers. We will see that their movements are often beautiful. When, for instance, the heavy hammer flies up and down again and again, the worker’s mind is occupied exclusively with the task...

Six Directions

Sinéad Rushe

Sinéad Rushe is a lecturer in Acting and Movement on the BA (Hons) in Acting at Central School of Speech and Drama, London (CSSD) and teaches the Michael Chekhov Technique for acting teachers and for professional actors and directors (through Living Pictures and The Actor's Centre). She studied the Michael Chekhov technique intensively at the Michael Chekhov Studio in New York and London as well as in Paris. A director, performer and acting teacher, one of her recent works, Out of Time, was nominated for a 2010 Olivier Award and 2009 Dance Critic's Circle Award for its London run. Sinéad is the co-translator into French, with Sarah Hirschmuller, of several works by English playwright Howard Barker. Author affiliation details are correct at time of print publication.

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Michael Chekhov’s Acting Technique : A Practitioner’s Guide

Methuen Drama, 2019

Books

...For more on directions in space, see HA, 22; RS, 172–6. To my knowledge, there is nothing specifically written about them in Chekhov’s core writings that exists in English. ‘When you are bound, you are not free’.With the main...

Qualities of Movement: Moulding, Floating, Flying

Sinéad Rushe

Sinéad Rushe is a lecturer in Acting and Movement on the BA (Hons) in Acting at Central School of Speech and Drama, London (CSSD) and teaches the Michael Chekhov Technique for acting teachers and for professional actors and directors (through Living Pictures and The Actor's Centre). She studied the Michael Chekhov technique intensively at the Michael Chekhov Studio in New York and London as well as in Paris. A director, performer and acting teacher, one of her recent works, Out of Time, was nominated for a 2010 Olivier Award and 2009 Dance Critic's Circle Award for its London run. Sinéad is the co-translator into French, with Sarah Hirschmuller, of several works by English playwright Howard Barker. Author affiliation details are correct at time of print publication.

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Michael Chekhov’s Acting Technique : A Practitioner’s Guide

Methuen Drama, 2019

Books

...You can read about these in TA, 8–13; TOA, 43–8; HA, 42–6; MC, 129–33; LP, 96–7, 124, 147; RS, 308–12. ‘How often the actor tries to force his feelings, to order himself to become sorrowful, gay...

Objective Atmosphere

Sinéad Rushe

Sinéad Rushe is a lecturer in Acting and Movement on the BA (Hons) in Acting at Central School of Speech and Drama, London (CSSD) and teaches the Michael Chekhov Technique for acting teachers and for professional actors and directors (through Living Pictures and The Actor's Centre). She studied the Michael Chekhov technique intensively at the Michael Chekhov Studio in New York and London as well as in Paris. A director, performer and acting teacher, one of her recent works, Out of Time, was nominated for a 2010 Olivier Award and 2009 Dance Critic's Circle Award for its London run. Sinéad is the co-translator into French, with Sarah Hirschmuller, of several works by English playwright Howard Barker. Author affiliation details are correct at time of print publication.

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Michael Chekhov’s Acting Technique : A Practitioner’s Guide

Methuen Drama, 2019

Books

...You can study more about atmosphere in TA, 47–62, 195–200; TOA, 26–36; LP, 28, 37–8, 51, 56, 97–100; LT, 68–74; AA, 2:3; HA, 81–4; MCT, 3:11; PT, 294, 308–9. In the second part of To the Director and Playwright, Charles Leonard has collated...

Conclusion: Theatre of the Future

Sinéad Rushe

Sinéad Rushe is a lecturer in Acting and Movement on the BA (Hons) in Acting at Central School of Speech and Drama, London (CSSD) and teaches the Michael Chekhov Technique for acting teachers and for professional actors and directors (through Living Pictures and The Actor's Centre). She studied the Michael Chekhov technique intensively at the Michael Chekhov Studio in New York and London as well as in Paris. A director, performer and acting teacher, one of her recent works, Out of Time, was nominated for a 2010 Olivier Award and 2009 Dance Critic's Circle Award for its London run. Sinéad is the co-translator into French, with Sarah Hirschmuller, of several works by English playwright Howard Barker. Author affiliation details are correct at time of print publication.

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Michael Chekhov’s Acting Technique : A Practitioner’s Guide

Methuen Drama, 2019

Books

...‘We shall raise ourselves – and with ourselves also the theatre – to a genuine creativity only when, like surgeons, we feel responsible for the life of our play, the life of our theatre’Chekhov refers frequently to ‘the theatre...

Stick, Veil, Ball

Sinéad Rushe

Sinéad Rushe is a lecturer in Acting and Movement on the BA (Hons) in Acting at Central School of Speech and Drama, London (CSSD) and teaches the Michael Chekhov Technique for acting teachers and for professional actors and directors (through Living Pictures and The Actor's Centre). She studied the Michael Chekhov technique intensively at the Michael Chekhov Studio in New York and London as well as in Paris. A director, performer and acting teacher, one of her recent works, Out of Time, was nominated for a 2010 Olivier Award and 2009 Dance Critic's Circle Award for its London run. Sinéad is the co-translator into French, with Sarah Hirschmuller, of several works by English playwright Howard Barker. Author affiliation details are correct at time of print publication.

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Michael Chekhov’s Acting Technique : A Practitioner’s Guide

Methuen Drama, 2019

Books

...For more on stick, ball, veil see HA, 60–6; MC, 132; RS, 204–7, 318–19. I was introduced to this work by Sarah Kane.‘You must try to develop a feeling that you are a creative person, that you are capable of creating...

Moving into character

Katya Bloom

Katya Bloom, PhD, (volume editor) taught Laban-based movement on the core acting course at the Royal Academy of Dramatic Art in London from 1989 to 2009. She is author of The Embodied Self (2006), and co-author of Moves: A Sourcebook of Ideas for Body Awareness and Creative Movement (1998), as well as three stage plays. She is based in Santa Barbara, CA, USA. Author affiliation details are correct at time of print publication.

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The Laban Workbook for Actors : A Practical Training Guide with Video

Bloomsbury Methuen Drama, 2018

Books

...You can have a physical movement that can give you your whole identity.As an actor, how do you create physically specific, believable, and dynamic characters that really come alive? By recognizing that your body and your mind...

Section 3: The body

Paul Elsam

Paul Elsam trained as an actor at the former Manchester Polytechnic School of Theatre, UK, and has worked widely as a performer in theatre, radio, film and television, including in BAFTA and Olivier-nominated productions on stage and screen. He has directed professional actors and students in both the UK and the USA, often working ‘in the round’. He has held teaching posts at the universities of Hull and Teesside, and at the Academy of Live and Recorded Arts. He maintains a strong research interest in post-war theatre historiography, and in the praxis of actor training. Author affiliation details are correct at time of print publication.

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Acting Characters : 20 essential steps from rehearsal to performance

Methuen Drama, 2011

Books

...In this Section we will be concentrating on how actors, and indeed people in everyday life, use their bodies to communi cate things to others. You will be introduced to five new Tools which allow you to change the way you express yourself...

Second Cut

John Matthews

John Matthews is Programme Leader of BA (Hons) Acting at Theatre Royal Plymouth. He has written two books published by Bloomsbury Methuen Drama: Training for Performance (2011) and Anatomy of Performance Training (2014). Author affiliation details are correct at time of print publication.

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Anatomy of Performance Training

Bloomsbury Methuen Drama, 2014

Books

...What of all those bits of bodies that didn’t make the first cut? As I explained at the outset, there were specific reasons for choosing hands, feet, mouths, ears and hearts to open up my Anatomy of Performance Training...