An Actor's Tricks by Lorna Marshall, Yoshi Oida

By Lorna Marshall, Yoshi Oida

A founding member of Peter Brook's foreign theatre corporation, Yoshi Oida infuses his performing and directing with the artistry of the Oriental traditions and a mastery of Western kinds. during this disarmingly obtainable research of the artwork of acting he stocks his designated adventure and diversity of craftsmanship. An Actor's methods offers a meticulous scrutiny of the actor's education for functionality and springs with a foreword by way of Peter Brook.

Drawing on an unrivalled wealth and diversity of craftsmanship within the fields of appearing, directing and coaching, Yoshi Oida and Lorna Marshall offer an authoritative and engaging examine of the paintings of the actor.

In scrutinising the method of functionality from the dual views of the actor and director, An Actor's Tricks is full of hints, insights and stories from productions with Peter Brook and from world wide.

Beginning with the day-by-day coaching to coach the physique, it strikes to the method of practice session for a functionality correct up to date whilst the actor steps onstage. An appendix of practical workouts is incorporated for the actor to follow.

The books combines rules and methods from either Western and japanese disciplines of performing to supply a masterful learn crucial for each actor and director.

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By doing your warmup in the actual performing space, you are helping the other instinctive intelligence to connect to the environment. Rituals of preparation Over the years, artists tend to develop rituals of preparation. Some individuals might sing while getting dressed, or walk up and down in the corridor, or meditate in their own way. Whatever helps each particular actor is fine. In fact, all of these are useful ways of drawing a line between ordinary life and the world of the performance. The act of putting on stage make-up can also help the performers separate themselves from their daily existence.

As an actor you look at every aspect of yourself (thought, emotion, movement) from the inside, but at the same time you look at your image from the outside. Then you can act. When you do this something emerges, a strange psychological state. This phenomenon is beyond logical explanation. It has no logic, no words, no intelligence, but with experience you will start to understand. When I started working with Peter Brook I tried to discover riken-no-ken. Every day there were a lot of improvisations: situation, character or movement.

In addition, when I am performing as part of a company, I don’t want to encounter the other actors for the first time on the stage during the performance; we need some kind of contact before we meet there. So it is useful to do our exercises together. If, for any reason, the group exercises don’t occur, we meet anyway, not just to say hello to each other, but to make contact with each other as performers. For me, these three elements of preparation are very important: physical awakening, internal energy awakening and the creation of some sort of unity among the performers.

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