MOVEMENT FOR THE ACTOR

PRINT SOURCES:

Alberts, David. The Expressive Body: Physical Characterization for the Actor. NH: Heinemann, 1997. ISBN 0-435-07030-4
Movement and gestures, building a character, character interaction and movement for period plays.

Barba, Eugenio and Nicola Savarese. The Secret Art of the Performer. New York: Routledge, 1991.

Benedetti, Robert. The Actor at Work. Englewood Cliffs, NJ: Prentice Hall, 1990.
Includes movement work.

Bloom, Katya and Rosa Shreeves. Moves: A Sourcebook of Ideas for Body Awareness and Creative Movement. London: Harwood Academic Publishers, 1998. ISBN 90-5702-133-1
Illustrated book of exercises, aimed at deepening awareness of the body and the self through the practice of movement and dance.

Camryn, Walter. An Analytical Study of Character Movement for Dancers, Singers, and Actors. New York: Dance Mart, 1959.

Carney, Kay. “The Plastique Exercises: One Route to Our True Natures,” ATA Theatre News, Vol. IX, no.1.
Grotowski.

Chekhov, Michael. To the Actor. New York: Harper and Row, 1953.
On the psychological gesture.

Dennis, Anne. The Articulate Body: the Physical Training of the Actor. New York: Drama Book Publishers, 1995. 0-89676-133-9
Rethinking the physical needs of the contemporary actor; looking at the actor’s physical training not as a series of skills, but as a skill in itself, specific to the actor.

Garner, Stanton B., Jr. Bodied Spaces: Phenomenology and Performance in Contemporary Drama. Cornell University Press, 1994. ISBN 0801482186

Huston, Hollis. The Actor’s Instrument: Body Theory on Stage. Ann Arbor: University of Michigan Press, 1992.

Izzo, Gary. Acting Interactive Theatre: A Handbook. Portsmouth, NH: Heinemann, 2003. 0-435-07038-X
"This practical guide from . . . Gary Izzo cuts to the quick of the fast-paced, on-the-spot improvisational nature of interactive theatre." (Heinemann blurb)

King, Nancy. Giving Form to Feeling. New York: Drama Book Specialists, 1975. 0- 10482-57-8

________. A Movement Approach to Acting. Englewood Cliffs, NJ: Prentice-Hall, Inc., 1981. 0-13-604637-1

________. Theatre Movement: The Actor and His Space. New York: Drama Book Specialists, 1971.

Klein, Maxine. Time Space and Designs for Actors. Boston: Houghton Mifflin, 1975.
Also includes acting improvisations.

Kline, Peter and Nancy Meadows. The Theatre Student: Physical Movement for the Theatre. New York: Richards Rosen Press, 1971.

Lessac, Arthur. Body Wisdom: The Use and Training of the Human Body. New York: Drama Book Specialists, 1978, 1982.
Integrated body/voice approach for actors and non-actors, by a noted voice teacher.

Linklater, Kristin. “Voice and Body, Soul and Movement,” ATA Theatre News, Vol. IX, no. 7.

________. “Animating the Actor’s Body,” American Theatre, 3(July-August 1986): 38- 39.

Norris, Lynn. “The Importance of Warm-ups to the Rehearsal Process,” ATA Theatre News, Vol. 15, no. 4.

Olsen, Mark. The Actor with a Thousand Faces. NY: Applause, 2000. ISBN 1-55783-306-0
A movement-based guidebook focusing on ensemble work. Includes establishing a common movement vocabulary, games, group dynamics, use of masks, and ritual theatre.

Pasolli, Robert. A Book on the Open Theatre. Indianapolis, IN: Bobbs-Merrill, 1976.
Describes their physical approach. Includes many useful exercises and improvisations.

Penrod, James. Movement for the Performing Artist. Palo Alto, CA: Mayfield Publishing Co., 1974.

Pisk, Litz. The Actor and His Body. New York: Theatre Arts Books, 1976.

Rolfe, Bari. Actions Speak Louder. Berkeley, CA: Personabooks, 1992. 0-932456-07-3
Movement exercises for actor training.

________. “Towards Speech in Every Limb,” Educational Theatre Journal, 25(March 1973): 112-119.
Review of some dozen books on movement for actors.

Robinson, Davis Rider. The Physical Comedy Handbook. Portsmouth, NH: Heinemann, 2003. 0-325-00114-6

Rose, Mark V. The Actor and His Double: Mime and Movement for the Theatre of Cruelty. Actor Training & Research Institute Press, 1986. ISBN 0961608706

Rubin, Lucille S., ed. Movement for the Actor. New York: Drama Book Specialists, 1980.

Sabatine, Jean. Movement Training for the Stage and Screen: The Organic Connection Between Mind, Spirit, and Body. New York: Back Stage Books, 1995. 0-8230- 7712-8

Sullivan, Claudia N. The Actor Moves. n. c.: McFarland and Company, Inc., 1990. 0- 89950-451-5

Tufnell, Miranda and Chris Crickmay. Body Space Image: Notes Towards Improvisation and Performance. London: Dance Books Ltd., 1993. ISBN 1-85273-041-2
Begins with movement and the individual experience, and then extends to include group work and the use of space, light, sound and objects, pointing towards performance.

Turner, Craig. “Contemporary Approaches to Movement Training for Actors in the U.S.” in Theatrical Movement: A Bibliographical Anthology, Bob Fleshman, ed. Metuchen, NJ: The Scarecrow Press, 1986.

Vened, Christopher. In Character: An Actor’s Workbook for Character Development. CT: Heinemann, 2000. ISBN 0325002088
Includes section on establishing character traits in the body.

White, Edwin C. and Margurite Battye. Acting and Stage Movement. New York: Arc Books, 1963.
Part II is a textbook on movement.

Wilson, John M. A Natural Philosophy of Movement Styles for Theatre Performers. Ph.D. Dissertation, University of Wisconsin, 1973.

Withey, J. A. “Form Through Movement in the Theatre,” Players Magazine II. November 1964.
Text to stage through movement.

Yakim, Moni with Muriel Broadman. Creating a Character: A Physical Approach to Acting. New York: Back Stage Books, 1990.

Young, Stark. “Movement in Acting,” in Glamour. New York: Scribner’s Sons, 1925.

Zaporah, Ruth. Action Theatre: The Improvisation of Presence. Berkeley, CA: North Atlantic Books, 1995.
Exercises and metaphors geared toward the body’s awareness of the present moment.

AUDIO/VIDEO SOURCES:

Mora, Dawn. Movement for the Actor. Performing Arts Instructional Video, n.d.
Video. Call 1-800-828-0373.