How to act

From Crossing the Sacred Sea [Cruzando el mar sagrado], 13th edition, by Nathan A. Strait

  1. (2015) Presence: bringing your boldest self to your biggest challenges [i]
  2. (2015) A practical guide to ensemble devising [i]
  3. (2014) What's the story: essays about art, theater and storytelling [i]
  4. (2014) EEG-neurofeedback for optimising performance II: creativity, the performing arts and ecological validity [p] [d]
  5. (2014) Act well to be well: the promise of changing personality states to promote well-being [i] [d]
  6. (2014) From the heart: hand over heart as an embodiment of honesty [d]
  7. (2014) Self-expansion through fictional characters [d]
  8. (2014) Use of interactive theater and role play to develop medical students' skills in breaking bad news [p] [d]
  9. (2014) Improvisation on the edge: notes from on and off the stage [i]
  10. (2013) Prediction, events, and the advantage of agents: the processing of semantic roles in visual narrative [d]
  11. (2013) Performance and cross-racial storytelling in post-Katrina New Orleans: interviews with John O'Neal, Carol Bebelle, and Nicholas Slie [d]
  12. (2013) Using a blended learning approach to simulate the negotiation of a multilateral environmental agreement [d]
  13. (2012) Embodied acting: what neuroscience tells us about performance [i]
  14. (2012) Theatre for change: education, social action and therapy [i]
  15. (2012) Getting the message across: does the use of drama aid education in palliative care? [d]
  16. (2012) Finding 'real' [u]
  17. (2012) Beyond the screenplay: a dialectical approach to dramaturgy [i]
  18. (2012) Acting 101 for managers [u]
  19. (2011) The calling card script: a writer's toolbox for stage, screen and radio [i]
  20. (2011) The dynamics of warmth and competence judgments, and their outcomes in organizations [d]
  21. (2011) Using a virtual national park to teach workplace skills in conservation management [d]
  22. (2011) Forum theatre for bystanders: a new model for gender violence prevention [d]
  23. (2011) Such stuff as dreams: the psychology of fiction [i]
  24. (2010) Acting as narrative [i]
  25. (2010) Power posing: brief nonverbal displays affect neuroendocrine levels and risk tolerance [d]
  26. (2010) The doctor as performer: a proposal for change based on a performance studies paradigm [d]
  27. (2010) Life as performance art: right and left brain function, implicit knowing, and 'felt coherence' [i]
  28. (2010) Engaging performance: theatre as call and response [i]
  29. (2010) Understanding character: an actor's approach to formulation [i]
  30. (2010) Understanding characters [d]
  31. (2010) Personification: using the dialogical self in psychotherapy and counselling [i]
  32. (2009) Blendings of real, fictional, and other imaginary people [d]
  33. (2009) Embodied attentiveness: recognising the language of movement [d]
  34. (2009) Get real: documentary theatre past and present [i] [d]
  35. (2009) Living in alternative and inner worlds: early signs of acting talent [d]
  36. (2009) Actors are skilled in theory of mind but not empathy
  37. (2009) Inhabiting the image: photography, therapy and re-enactment phototherapy [d]
  38. (2009) Applied theatre: international case studies and challenges for practice [i]
  39. (2009) 'Breaking the fourth wall': activating hope through participatory theatre with family caregivers [d]
  40. (2009) Collaboration in theatre: a practical guide for designers and directors [i] [d]
  41. (2009) Drawn to life: 20 golden years of Disney master classes [i]
  42. (2009) Psychophysical acting: an intercultural approach after Stanislavski [i]
  43. (2008) Feel! think! act!: a guide to interactive drama for sexual and reproductive health with young people [u]
  44. (2008) The actor, image, and action: acting and cognitive neuroscience [i]
  45. (2008) Positive dramas: enacting self-adventures in organizations [d]
  46. (2008) A balancing act: the development of Energize!, a holistic approach to acting [i]
  47. (2008) The couch and the stage: integrating words and action in psychotherapy [i]
  48. (2008) Personality dominance and preferential use of the vertical dimension of space: evidence from spatial attention paradigms [d]
  49. (2008) Acting out of habits—can Theatre of the Oppressed promote change?: Boal's theatre methods in relation to Bourdieu's concept of habitus [d]
  50. (2008) Mike Leigh on Mike Leigh [i]
  51. (2008) Dramatic insights: a report of the effects of a dramatic production on the learning of student nurses during their mental health course component [d]
  52. (2008) The necessity of theater: the art of watching and being watched [i] [d]
  53. (2007) Beyond parallel play: science befriending the art of method acting to advance healing relationships [d]
  54. (2007) Truth: personas, needs, and flaws in the art of building actors and creating characters [i]
  55. (2007) And then, you act: making art in an unpredictable world [i]
  56. (2007) The making of an expert [u]
  57. (2007) Making a performance: devising histories and contemporary practices [i]
  58. (2007) The unconscious actor: out of control, in full command: the art of performance in acting and in life [i]
  59. (2007) Playing Pygmalion: how people create one another [i]
  60. (2007) The expressive actor: integrated voice, movement, and acting training [i]
  61. (2007) Top-down and bottom-up approaches to actor training [d]
  62. (2007) An actor's tricks [i]
  63. (2007) Drama theory and entertainment education: exploring the effects of a radio drama on behavioral intentions to limit HIV transmission in Ethiopia [d]
  64. (2007) How to rehearse when there is no rehearsal: acting and the media [i]
  65. (2007) Actors at work [i]
  66. (2006) Role-play teaching: acting in the classroom [d]
  67. (2006) The mechanism of storymaking: a grounded theory study of the 6-part story method [d]
  68. (2006) Theatre for development: an introduction to context, applications, and training [i]
  69. (2006/2008) Acting and how to be good at it [i]
  70. (2006) How interpersonal motives clarify the meaning of interpersonal behavior: a revised circumplex model [d]
  71. (2006) Performing respect: using enactments in group work with men who have abused [d]
  72. (2006) Use of applied theatre in health research dissemination and data validation: a pilot study from South Africa [d]
  73. (2005) The viewpoints book: a practical guide to viewpoints and composition [i]
  74. (2005) Taking a risk and playing it safe: the use of actors in interagency child protection training [d]
  75. (2005) New practices, new pedagogies: a reader [i]
  76. (2005) Large group interventions: change as theater [d]
  77. (2005) Ritual and symbol in peacebuilding [i]
  78. (2005) Potholes in the road to devising
  79. (2005) Acting: advanced techniques for the actor, director, and teacher [i]
  80. (2005) Why devise? Why now? Why breathe?
  81. (2004) Actions: the actors' thesaurus [i]
  82. (2004) The power of the actor: the Chubbuck technique [i]
  83. (2004) The heart of the actor: let it all out or keep a healthy distance? [i]
  84. (2004) The intercultural performance handbook [i]
  85. (2004) Understanding public land management through role-playing [d]
  86. (2004) Acting that matters [i]
  87. (2004) Johnny joins the freak-bike gang [u]
  88. (2004) From discord to dialogue: internal voices and the reorganization of the self in process-experiential therapy [i]
  89. (2003) The six dilemmas of collaboration: inter-organisational relationships as drama [i]
  90. (2003) Tracing the footprints: documenting the process of performance [i]
  91. (2003) When 'the show must go on': surface acting and deep acting as determinants of emotional exhaustion and peer-rated service delivery [d]
  92. (2003) Leadership presence: dramatic techniques to reach out, motivate, and inspire [i]
  93. (2003) Notes on directing: 130 lessons in leadership from the director's chair [i]
  94. (2003) Fixed role in a fishbowl: consultation-based fixed role therapy as a pedagogical technique [d]
  95. (2003) Improvised dialogues: emergence and creativity in conversation [i]
  96. (2003) The film director's intuition: script analysis and rehearsal techniques [i]
  97. (2002) Book on acting: improvisation technique for the professional actor in film, theater & television [i]
  98. (2002) Getting into character: seven secrets a novelist can learn from actors [i]
  99. (2002/2005) The actor and the target [i]
  100. (2002) Finding your voice: a step-by-step guide for actors [i]
  101. (2002) Drama, emotion, and cultural convergence [d]
  102. (2002) Movement for actors [i]
  103. (2002) Between director and actor: strategies for effective performance [i]
  104. (2002) Transformational acting: a step beyond [i]
  105. (2002) Motivating offenders to change through participatory theatre [i] [d]
  106. (2002) Strangers to ourselves: discovering the adaptive unconscious [i]
  107. (2002) Body, voice, imagination: a training for the actor [i]
  108. (2001) Through the body: a practical guide to physical theatre [i]
  109. (2001) The voice in violence: and other contemporary issues in professional voice and speech training [i]
  110. (2001) Community theatre: global perspectives [i]
  111. (2001) The performer's guide to the collaborative process [i]
  112. (2001/2002) The body speaks: performance and expression [i]
  113. (2001) Auditioning: an actor-friendly guide [i]
  114. (2001) Shakespeare's invention of theater as simulation that runs on minds [d]
  115. (2001) Theater games for the lone actor [i]
  116. (2000) The films of Mike Leigh: embracing the world [i]
  117. (2000) Promoting self-awareness and role elaboration: using repertory grids to facilitate theatrical character development [d]
  118. (2000) The singing and acting handbook: games and exercises for the performer [i]
  119. (2000/2009) Voice for performance [i]
  120. (2000) Method acting reconsidered: theory, practice, future [i]
  121. (2000) Power and problems of performance across ethnic lines: an alternative approach to nontraditional casting [d]
  122. (2000) An acrobat of the heart: a physical approach to acting inspired by the work of Jerzy Grotowski [i]
  123. (2000/2001) Performer training: developments across cultures [i]
  124. (1999) The six part story method (6PSM): as an aid in the assessment of personality disorder [d]
  125. (1999/2006) Writer's guide to character traits: includes profiles of human behaviors and personality types [i]
  126. (1999) The other way: an alternative approach to acting and directing [i]
  127. (1999) Take it personally: on the art and the process of personal acting [i]
  128. (1999) The experience economy: work is theatre & every business a stage [i]
  129. (1998) Moves: a sourcebook of ideas for body awareness and creative movement [i]
  130. (1998) Learning to trust and trusting to learn: a role for radical theatre [d]
  131. (1998/2005) House of games: making theatre from everyday life [i]
  132. (1998) Movement: from person to actor to character [i]
  133. (1998) The pale of words: reflections on the humanities and performance [i]
  134. (1997) Role play simulations: the assessment of an active learning technique and comparisons with traditional lectures [d]
  135. (1997) Drama as a discussion starter in research and education [u]
  136. (1997/2001) The moving body: teaching creative theatre [i]
  137. (1997) Rehearsing for reality: using role-play to transform attitudes and behaviour [u]
  138. (1997) The nature of expertise in professional acting: a cognitive view [i]
  139. (1996) O arco-íris do desejo: método Boal de teatro e terapia [i]
  140. (1996) Staying alive to learning: integrating enactments with case teaching to develop leaders [d]
  141. (1996/2005) Make your voice heard: an actor's guide to increased dramatic range through vocal training [i]
  142. (1996) Directing actors: creating memorable performances for film and television [i]
  143. (1995) The rainbow of desire: the Boal method of theatre and therapy [i]
  144. (1995) Communicating through story characters: radio social drama [i]
  145. (1995) The storytelling coach: how to listen, praise, and bring out people's best [i]
  146. (1995/1997) The invisible actor [i]
  147. (1995) Action theater: the improvisation of presence [i]
  148. (1995) Acting (re)considered: theories and practices [i]
  149. (1994) Devising theatre: a practical and theoretical handbook [i]
  150. (1994) Family play therapy [i]
  151. (1994) Playing Boal: theatre, therapy, activism [i]
  152. (1994/2007) Acting lessons for teachers: using performance skills in the classroom [i]
  153. (1994) Rehearsals for growth: theater improvisation for psychotherapists [i]
  154. (1994) Interactive acting: acting, improvisation, and interacting for audience participatory theatre [i]
  155. (1993) Persona and performance: the meaning of role in drama, therapy, and everyday life [i]
  156. (1993) When people play people: development communication through theatre [i]
  157. (1993) Improvising real life: personal story in playback theatre [i]
  158. (1993) The actor alone: exercises for work in progress [i]
  159. (1992/2007) The actor's checklist: creating the complete character [i]
  160. (1992) The professional ACT: acting communication technique [i]
  161. (1991) The radiant performer: the spiral path to performing power [i]
  162. (1991) Be a mime! [i]
  163. (1990) Actors and onlookers: theater and twentieth-century scientific views of nature [i]
  164. (1990) Creating a character: a physical approach to acting [i]
  165. (1989/1999) Acting skills for life [i]
  166. (1989/2008) Directing: film techniques and aesthetics [i]
  167. (1988/1995) Improvisation through theatre sports: a curriculum to improve acting skills [i]
  168. (1988) Conversational performance and the performance of conversation [d]
  169. (1987) Screen acting: how to succeed in motion pictures and television [i]
  170. (1987/1998) How to be funny: discovering the comic you [i]
  171. (1987) Role play [i]
  172. (1987/2006) The theatre of movement and gesture [i]
  173. (1985) Year of the king: an actor's diary and sketchbook [i]
  174. (1983) The improvised play: the work of Mike Leigh [i]
  175. (1983/1989) The effective use of role-play: a handbook for teachers and trainers [i]
  176. (1982) Role playing and identity: the limits of theatre as metaphor [i]
  177. (1980/1998) Let's improvise: becoming creative, expressive & spontaneous through drama [i]
  178. (1979) No acting, please: a revolutionary approach to acting and living [i]
  179. (1979) Catharsis in healing, ritual, and drama [i]
  180. (1978/1993) One less manifesto [i]
  181. (1977) 200 exercícios e jogos para o ator e o não-ator com vontade de dizer algo através do teatro [o]
  182. (1977/2002) Games for actors and non-actors [i]
  183. (1976/2006) Freeing the natural voice: imagery and art in the practice of voice and language [i]
  184. (1975) The actor and his body [i]
  185. (1974/1975) Teatro do oprimido e outras poéticas políticas [o]
  186. (1974/1979) Theater of the oppressed [i]
  187. (1973/1996) Acting-in: practical applications of psychodramatic methods [i]
  188. (1966/1999) The art of memory [i]
  189. (1965/1990) Speak with distinction [i]
  190. (1963/1999) Improvisation for the theater: a handbook of teaching and directing techniques [i]
  191. (1939) Art is action: a discussion of nine arts in a modern world [o]

Copyright © 2010–2017 Nathan A. Strait (contact)
13th edition, last updated: 9 September 2017
Statistics: authors, journals, publishers
http://sea.nathanstrait.com/acting