How to act

From Crossing the Sacred Sea [Cruzando el mar sagrado] by Nathan A. Strait

  1. () The introverted actor: practical approaches [i] [d]
  2. () Teaching as the art of staging: a scenario-based college pedagogy in action [i]
  3. () Staging the Cascadia earthquake before it happens: Faultline Ensemble's Holding onto the sky as community health and theatre manifesto [d]
  4. () Physical actor training: what shall I do with the body they gave me? [i] [d]
  5. () Acting it out: using drama in the classroom to improve student engagement, reading, and critical thinking [i] [d]
  6. () Script analysis for theatre: tools for interpretation, collaboration and production [i]
  7. () Acting and its refusal in theatre and film: the devil makes believe [i]
  8. () Roadblocks in acting [i]
  9. () The actor's workbook: a practical guide to training, rehearsing and devising + video [i]
  10. () Facing the fear: an actor's guide to overcoming stage fright [i]
  11. () Actioning and how to do it [i]
  12. Christopher Olsen [ed] () Acting comedy [i] [d]
  13. () Creating solo performance [i] [d]
  14. () Presence: bringing your boldest self to your biggest challenges [i]
  15. Camilla Eeg-Tverbakk & Karmenlara Ely [ed] () Responsive listening: theater training for contemporary spaces [i]
  16. () Acting with passion: a performer's guide to emotions on cue [i]
  17. () The outstanding actor: seven keys to success [i] [d]
  18. () A practical guide to ensemble devising [i]
  19. () Arguments as a new perspective on character motive in stories [d] [u]
  20. () What's the story: essays about art, theater and storytelling [i] [d]
  21. () Physical expression on stage and screen: using the Alexander technique to create unforgettable performances [i]
  22. () EEG-neurofeedback for optimising performance II: creativity, the performing arts and ecological validity [p] [d]
  23. () Integrative Alexander Technique practice for performing artists: onstage synergy [i]
  24. () Anatomy of performance training [i]
  25. () Act well to be well: the promise of changing personality states to promote well-being [i] [d]
  26. () From the heart: hand over heart as an embodiment of honesty [d]
  27. () Self-expansion through fictional characters [d]
  28. () Use of interactive theater and role play to develop medical students' skills in breaking bad news [p] [d]
  29. () Dramatic circumstances: on acting, singing, and living inside the stories we tell [i]
  30. () Improvisation on the edge: notes from on and off the stage [i]
  31. () Acting in documentary theatre [i]
  32. () Prediction, events, and the advantage of agents: the processing of semantic roles in visual narrative [p] [d] [u]
  33. () The complete tips for actors [i]
  34. () Performance and cross-racial storytelling in post-Katrina New Orleans: interviews with John O'Neal, Carol Bebelle, and Nicholas Slie [d]
  35. () Inner monologue in acting [i] [d]
  36. () Using a blended learning approach to simulate the negotiation of a multilateral environmental agreement [d]
  37. () Embodied acting: what neuroscience tells us about performance [i]
  38. () Theatre for change: education, social action and therapy [i]
  39. () Getting the message across: does the use of drama aid education in palliative care? [d]
  40. () Finding 'real' [u]
  41. () Beyond the screenplay: a dialectical approach to dramaturgy [i]
  42. () Acting 101 for managers [u]
  43. () The calling card script: a writer's toolbox for stage, screen and radio [i]
  44. () The dynamics of warmth and competence judgments, and their outcomes in organizations [d]
  45. () Using a virtual national park to teach workplace skills in conservation management [d]
  46. () Forum theatre for bystanders: a new model for gender violence prevention [d]
  47. () Such stuff as dreams: the psychology of fiction [i]
  48. () Acting as narrative [i] [d]
  49. () Power posing: brief nonverbal displays affect neuroendocrine levels and risk tolerance [d]
  50. () The doctor as performer: a proposal for change based on a performance studies paradigm [p] [d]
  51. () Life as performance art: right and left brain function, implicit knowing, and 'felt coherence' [i] [d]
  52. () Engaging performance: theatre as call and response [i]
  53. () Understanding character: an actor's approach to formulation [i] [d]
  54. () Understanding characters [d]
  55. () Personification: using the dialogical self in psychotherapy and counselling [i]
  56. () Blendings of real, fictional, and other imaginary people [d]
  57. () Embodied attentiveness: recognising the language of movement [d]
  58. Alison Forsyth & Christopher Megson [ed] () Get real: documentary theatre past and present [i] [d]
  59. () Living in alternative and inner worlds: early signs of acting talent [d]
  60. () Actors are skilled in theory of mind but not empathy [d]
  61. (/2014) The Frantic Assembly book of devising theatre [i]
  62. () Inhabiting the image: photography, therapy and re-enactment phototherapy [d]
  63. Monica Prendergast & Juliana Saxton [ed] () Applied theatre: international case studies and challenges for practice [i]
  64. () 'Breaking the fourth wall': activating hope through participatory theatre with family caregivers [d]
  65. () Collaboration in theatre: a practical guide for designers and directors [i] [d]
  66. () Drawn to life: 20 golden years of Disney master classes [i] [d]
  67. () Psychophysical acting: an intercultural approach after Stanislavski [i]
  68. () Feel! think! act!: a guide to interactive drama for sexual and reproductive health with young people [i] [u]
  69. () The actor, image, and action: acting and cognitive neuroscience [i]
  70. () Positive dramas: enacting self-adventures in organizations [d]
  71. () A balancing act: the development of Energize!, a holistic approach to acting [i]
  72. () The couch and the stage: integrating words and action in psychotherapy [i]
  73. () Personality dominance and preferential use of the vertical dimension of space: evidence from spatial attention paradigms [d]
  74. () Acting out of habits—can Theatre of the Oppressed promote change?: Boal's theatre methods in relation to Bourdieu's concept of habitus [d]
  75. () Mike Leigh on Mike Leigh [i]
  76. () Dramatic insights: a report of the effects of a dramatic production on the learning of student nurses during their mental health course component [d]
  77. () The necessity of theater: the art of watching and being watched [i] [d]
  78. () Beyond parallel play: science befriending the art of method acting to advance healing relationships [p] [d]
  79. () Truth: personas, needs, and flaws in the art of building actors and creating characters [i]
  80. () And then, you act: making art in an unpredictable world [i]
  81. () The making of an expert [p] [u]
  82. () Making a performance: devising histories and contemporary practices [i]
  83. () The unconscious actor: out of control, in full command: the art of performance in acting and in life [i]
  84. () Playing Pygmalion: how people create one another [i]
  85. () The expressive actor: integrated voice, movement, and acting training [i]
  86. () Top-down and bottom-up approaches to actor training [d]
  87. () An actor's tricks [i]
  88. () Drama theory and entertainment education: exploring the effects of a radio drama on behavioral intentions to limit HIV transmission in Ethiopia [d]
  89. () How to rehearse when there is no rehearsal: acting and the media [i]
  90. () Actors at work [i]
  91. () Creating characters with personality [i]
  92. () Role-play teaching: acting in the classroom [d]
  93. () The mechanism of storymaking: a grounded theory study of the 6-part story method [d]
  94. () Theatre for development: an introduction to context, applications, and training [i]
  95. (/2008) Acting and how to be good at it [i]
  96. () How interpersonal motives clarify the meaning of interpersonal behavior: a revised circumplex model [d]
  97. () Performing respect: using enactments in group work with men who have abused [d]
  98. () Use of applied theatre in health research dissemination and data validation: a pilot study from South Africa [d]
  99. () The viewpoints book: a practical guide to viewpoints and composition [i]
  100. () Taking a risk and playing it safe: the use of actors in interagency child protection training [d]
  101. Malcolm Miles [ed] () New practices, new pedagogies: a reader [i]
  102. () Large group interventions: change as theater [d]
  103. () Ritual and symbol in peacebuilding [i]
  104. () Potholes in the road to devising [d]
  105. () Acting: advanced techniques for the actor, director, and teacher [i]
  106. () Why devise? Why now? Why breathe? [d]
  107. () Actions: the actors' thesaurus [i]
  108. () The power of the actor: the Chubbuck technique [i]
  109. () The heart of the actor: let it all out or keep a healthy distance? [i] [d]
  110. () The intercultural performance handbook [i]
  111. (/2015) Improvise: scene from the inside out [i]
  112. () Understanding public land management through role-playing [d]
  113. () Acting that matters [i]
  114. () Johnny joins the freak-bike gang [u]
  115. () From discord to dialogue: internal voices and the reorganization of the self in process-experiential therapy [i]
  116. () The six dilemmas of collaboration: inter-organisational relationships as drama [i]
  117. () Tracing the footprints: documenting the process of performance [i]
  118. () When 'the show must go on': surface acting and deep acting as determinants of emotional exhaustion and peer-rated service delivery [d] [j]
  119. () Leadership presence: dramatic techniques to reach out, motivate, and inspire [i]
  120. () Notes on directing: 130 lessons in leadership from the director's chair [i]
  121. () Fixed role in a fishbowl: consultation-based fixed role therapy as a pedagogical technique [d]
  122. () Improvised dialogues: emergence and creativity in conversation [i]
  123. () The film director's intuition: script analysis and rehearsal techniques [i]
  124. () Book on acting: improvisation technique for the professional actor in film, theater & television [i]
  125. () Getting into character: seven secrets a novelist can learn from actors [i]
  126. (/2005) The actor and the target [i]
  127. () Finding your voice: a step-by-step guide for actors [i]
  128. () Drama, emotion, and cultural convergence [d]
  129. Nicole Potter, Mary Fleischer, & Barbara Adrian [ed] (/2016) Movement for actors [i]
  130. () Between director and actor: strategies for effective performance [i]
  131. () Transformational acting: a step beyond [i]
  132. () Motivating offenders to change through participatory theatre [i] [d]
  133. () Strangers to ourselves: discovering the adaptive unconscious [i]
  134. () Body, voice, imagination: a training for the actor [i]
  135. () Through the body: a practical guide to physical theatre [i]
  136. Rocco Dal Vera [ed] () The voice in violence: and other contemporary issues in professional voice and speech training [i]
  137. () Community theatre: global perspectives [i]
  138. () Taking center stage: masterful public speaking using acting skills you never knew you had [i]
  139. () The performer's guide to the collaborative process [i]
  140. (/2002) The body speaks: performance and expression [i]
  141. () Auditioning: an actor-friendly guide [i]
  142. () Shakespeare's invention of theater as simulation that runs on minds [d]
  143. () Theater games for the lone actor [i]
  144. () The films of Mike Leigh: embracing the world [i]
  145. () Promoting self-awareness and role elaboration: using repertory grids to facilitate theatrical character development [d]
  146. () The singing and acting handbook: games and exercises for the performer [i]
  147. (/2009) Voice for performance [i]
  148. David Krasner [ed] () Method acting reconsidered: theory, practice, future [i]
  149. () Power and problems of performance across ethnic lines: an alternative approach to nontraditional casting [d]
  150. () An acrobat of the heart: a physical approach to acting inspired by the work of Jerzy Grotowski [i]
  151. Ian Bruce Watson [ed] (/2001) Performer training: developments across cultures [i]
  152. (/2015) The actor in you: twelve simple steps to understanding the art of acting [i]
  153. () The six part story method (6PSM): as an aid in the assessment of personality disorder [d]
  154. (/2006) Writer's guide to character traits: includes profiles of human behaviors and personality types [i]
  155. () The other way: an alternative approach to acting and directing [i]
  156. () Take it personally: on the art and the process of personal acting [i]
  157. () The experience economy: work is theatre & every business a stage [i]
  158. () Moves: a sourcebook of ideas for body awareness and creative movement [i]
  159. () Learning to trust and trusting to learn: a role for radical theatre [d]
  160. (/2005) House of games: making theatre from everyday life [i]
  161. () Movement: from person to actor to character [i]
  162. () The pale of words: reflections on the humanities and performance [i]
  163. () Role play simulations: the assessment of an active learning technique and comparisons with traditional lectures [d]
  164. () Drama as a discussion starter in research and education [u]
  165. (/2001) The moving body: teaching creative theatre [i]
  166. () Rehearsing for reality: using role-play to transform attitudes and behaviour [u]
  167. () The nature of expertise in professional acting: a cognitive view [i]
  168. () O arco-íris do desejo: método Boal de teatro e terapia [i]
  169. () Staying alive to learning: integrating enactments with case teaching to develop leaders [d]
  170. (/2005) Make your voice heard: an actor's guide to increased dramatic range through vocal training [i]
  171. () Directing actors: creating memorable performances for film and television [i]
  172. () The rainbow of desire: the Boal method of theatre and therapy [i]
  173. () Communicating through story characters: radio social drama [i]
  174. () The storytelling coach: how to listen, praise, and bring out people's best [i]
  175. (/1997) The invisible actor [i]
  176. () Action theater: the improvisation of presence [i]
  177. Phillip B. Zarrilli [ed] () Acting (re)considered: theories and practices [i]
  178. () Devising theatre: a practical and theoretical handbook [i]
  179. Charles E. Schaefer & Lois J. Carey [ed] () Family play therapy [i]
  180. Mady Schutzman & Jan Cohen-Cruz [ed] () Playing Boal: theatre, therapy, activism [i]
  181. (/2007) Acting lessons for teachers: using performance skills in the classroom [i]
  182. () Rehearsals for growth: theater improvisation for psychotherapists [i]
  183. () Interactive acting: acting, improvisation, and interacting for audience participatory theatre [i]
  184. () Persona and performance: the meaning of role in drama, therapy, and everyday life [i]
  185. () When people play people: development communication through theatre [i]
  186. () Improvising real life: personal story in playback theatre [i]
  187. () The actor alone: exercises for work in progress [i]
  188. (/2007) The actor's checklist: creating the complete character [i]
  189. () The professional ACT: acting communication technique [i]
  190. () The radiant performer: the spiral path to performing power [i]
  191. () Be a mime! [i]
  192. () Actors and onlookers: theater and twentieth-century scientific views of nature [i]
  193. () Creating a character: a physical approach to acting [i]
  194. (/1999) Acting skills for life [i]
  195. (/2020) Directing: film techniques and aesthetics [i] [d]
  196. (/1995) Improvisation through theatre sports: a curriculum to improve acting skills [i]
  197. () Conversational performance and the performance of conversation [d] [j]
  198. () Screen acting: how to succeed in motion pictures and television [i]
  199. (/1998) How to be funny: discovering the comic you [i]
  200. () Role play [i]
  201. (/2006) The theatre of movement and gesture [i]
  202. () Year of the king: an actor's diary and sketchbook [i]
  203. () The improvised play: the work of Mike Leigh [i]
  204. (/1989) The effective use of role-play: a handbook for teachers and trainers [i]
  205. () Role playing and identity: the limits of theatre as metaphor [i]
  206. (/1998) Let's improvise: becoming creative, expressive & spontaneous through drama [i]
  207. () No acting, please: a revolutionary approach to acting and living [i]
  208. () Catharsis in healing, ritual, and drama [i]
  209. (/1993) One less manifesto [i]
  210. () 200 exercícios e jogos para o ator e o não-ator com vontade de dizer algo através do teatro [o]
  211. (/2002) Games for actors and non-actors [i]
  212. (/2006) Freeing the natural voice: imagery and art in the practice of voice and language [i]
  213. () The actor and his body [i]
  214. (/1975) Teatro do oprimido e outras poéticas políticas [o]
  215. (/1979) Theater of the oppressed [i]
  216. (/1996) Acting-in: practical applications of psychodramatic methods [i]
  217. (/1999) The art of memory [i]
  218. (/1990) Speak with distinction [i]
  219. (/1999) Improvisation for the theater: a handbook of teaching and directing techniques [i]
  220. (/1991) Fixed-role therapy [i] [d]
  221. (/2013) The craft of comedy: the 21st century edition [i]
  222. () Art is action: a discussion of nine arts in a modern world [o]

Copyright © 2010–2022 Nathan A. Strait (contact me)
14th edition, last updated: 10 January 2022 (view Zotero library on zotero.org)
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URL of this page: http://sea.nathanstrait.com/acting/