By Lorna Marshall, Yoshi Oida
A founding member of Peter Brook's overseas theatre corporation, Yoshi Oida infuses his performing and directing with the artistry of the Oriental traditions and a mastery of Western types. during this disarmingly obtainable learn of the artwork of acting he stocks his certain adventure and diversity of craftsmanship. An Actor's methods offers a meticulous scrutiny of the actor's coaching for functionality and springs with a foreword by way of Peter Brook.
Drawing on an unrivalled wealth and diversity of workmanship within the fields of performing, directing and coaching, Yoshi Oida and Lorna Marshall offer an authoritative and engaging research of the artwork 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 all over the world.
Beginning with the day-by-day practise 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 ideas and strategies from either Western and jap disciplines of performing to supply a masterful learn crucial for each actor and director.
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Additional info for An Actor's Tricks
Maybe the two actors are too young. ’ Reiko did not give the actors ageing make-up; instead, she created a false nose for one of them. Suddenly his performance became much better. So the director asked the artist to give the other main actor a false nose as well and his acting also improved. The third actor, who was playing Pozzo, watched these events and asked if he could have a nose too. So in the end three out of the four characters had false noses and the performance went very well. About ﬁfty years ago a Japanese actor played a major role in one of Yukio Mishima’s plays called Roku Meikan (The Castle of Rokumei).
Only to see an accurate, logical, clearly articulated interpretation? I feel that audiences want something more, something beyond the logical and the everyday. Something that stirs them on a deeper 20 An Actor’s Tricks level. And for this I feel actors need another, additional kind of intelligence. At the beginning of the twentieth century Taisetsu Suzuki developed various concepts from Zen Buddhism for a Western audience. In his book Zen Buddhism and Its Inﬂuence on Japanese Culture he noted that there were three kinds of knowledge.
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. The difﬁculty with doing physical exercises as part of your preparation is judging them accurately. If you work too hard, you become tired and ﬁnd you have no physical energy left when you enter the stage.
An Actor's Tricks by Lorna Marshall, Yoshi Oida