The Soul of the American Actor

INTERVIEWS with ARTISTS

Interviews with Artists

ELLEN BURSTYN

Interviews with Artists

DAVID STRATHAIRN

Interviews with Artists

TOMMY TUNE

Interviews with Artists

MARK RYDELL

Interviews with Artists

LINDA EMOND

Interviews with Artists

ANNA HALPRIN

Interviews with Artists

KRISTINE NIELSEN

Interview with Artists

LAURA OSNES

Interviews with Artists

JUDY KAYE

Interviews with Artists
HALLIE FOOTE

Interviews with Artists
JOHN PIELMEIER

Interviews with Artists
PETRONIA PALEY

interviews with artists
GRETCHEN CRYER

interviews with artists
JOHN RANDO

Interview 15
JOE GILFORD

Interview16
KAREN DRUCKER

Interview16
WILLIAM ALDERSON

Interview16
DAVID PARSONS

Interview16
JULIANNE DAVIDOW

Spotlight On

Julie Harris

this issue is dedicated to

Julie Harris
1925-2013

One of the
great actresses
of the
American Theatre

 

Kimberly Vaughn Performance Studio

Lucid Body

artists resources

It is important you have access to those teachers and their services available in your community. Please take advantage of our exciting resource - and if you also find others whom we should include - please let us know. 

Goldston Mine Studio

Ronald Rand in Let It Be Art


Articles

SITI Theatre Company's 30th Anniversary

Bread and Puppet Theater's 50th Anniversary

The Flea Theatre

American Globe Theatre

Transport Group

Carnegie Hall

Olney Theatre Center

Artistic New Directions

Cayman National Cultural Foundation

Center Stage

Stella Adler's Stella by Starlight

Greensboro Arts Alliance

Slavija International Theatre Festival

American Repertory Theatre

Cayman Drama Society

Music of the Spheres Society

Thalia Spanish Theatre

Youth Ensemble of Atlanta

Pregones Theatre

Neighborhood Playhouse

Lee Strasberg Studio Celebrates Stanislavsky's 150th Birthday

InterHarmony International Music Festival

Strawdog Theatre Company

Mixed Blood Theatre

All Design Is Chance: Designers Take a Hand

Project HOOP

Hirschfeld

INTERNATIONAL SCENE

The National School of Drama
New Delhi, India

<READ THIS--->

Acting is Leadership

I have been acting, off-Broadway, for 48 weeks a year since 1976. I have had a longer run than any of the performers in “The Fantastiks,” “Cats,” or “Phantom of the Opera.” Every day, I must consider and choose my costume, make-up and countenance.

SOUL TALK

For the most part, our theatres in New York City and across the country, at least our commercial theatres, aspire to work in the style of realism. Our schools of acting continue to teach variations of the Stanislavsky System based in the style of realism.

You Can Create an Exceptional Life

DEEP AT THE CENTER of our being there is an infinite well of love, an infinite well of joy, an infinite well of peace, and an infinite well of wisdom. This is true for each and every one of us. Yet how often do we get in touch with these treasures within us? Do we do it once a day? Once in a while? Or are we totally unaware that we have these inner treasures?

Touching the Invisible

There are many secrets to life. Being artistic and creative allows us to tap into the unseen powers of the universe. As artists of any kind we tap into a way of being that allows us to reach outside of the confines of the three-dimensional world. Artists somehow know how to shift their perceptions, their way of feeling inside of their body, and adapt a wavelike sensation inside of them to tap into that other inspirational world.

Harold ClurmanA Critic’s Credo

by HAROLD CLURMAN

Recently I was introduced to a gentleman as a person about to stage a new play. “What do you think of it? I was asked. “It’s a good play,” I answered. “Ah, I notice you are careful not to say it’s great,” he remarked.

The Journey of Creating New Opera

Sometimes the wheels of fate appear at just the right time, and it was our mutual composer friend, Richard Pearson Thomas, whose music we’ve both performed, who introduced us because he saw some musical connections between our two organizations.

Acting from the Heart and Soul

Every time I walk out onto the stage I surrender more and more of myself – trusting and swimming in the freedom of the moment with a deeper consciousness. I tap into the energies of my soul, knowing I’ve come to breathe with those in the audience. Quieting my mind I share with greater clarity and sincerity in the eternal moment.

Passing the Michael Chekhov ‘Ball’ on to another Generation of Artists

At some point in my life, I dedicated myself to blatantly and publicly cultivating the spirituality within Michael Chekhov’s technique, while simultaneously sharing how to practically apply it to the business, directing, and life coaching.

Women in Action – Parity or Duality?

Women, I salute your strength to forge forward and speak your fragile truth. Your hidden voice echoes in all of us.

 

Paul BinnertsActing in Real Time

Acting Is a Mysterious Craft ... but It Is a Craft!

Eugenio BarbaHope And Incomprehensibility

Without hope we cannot live. Hope can be a strength or a burden. It can fuel mediocre illusions or harmful and fierce beliefs. It can inspire those “truths” that leaders of doctrines proclaim eternal and philosophers call “idols” or “vital lies.”

Yevgeny Vakhtangov: A Critical Portrait

As an artist of the Russian avant-garde, Yevgeny Vakhtangov was as much concerned with the new forms of life as he was with the new forms of art. Non-separation between artistic forms and the forms of life was Vakhtangov’s trait since his first steps in theatre. Vakhtangov always saw Theatre as a prerequisite to the new, more beautiful, and sophisticated forms of life.

Acting and Identity: On Acting and Melancholia: a new book by Dubravka Crnojević Carić

Basing her own acting practice on the studying of the “Method,“ Dubravka Crnojević Carić uses this acting technique as the starting point into the inquiry of the nature of the actor and acting.

Putting a Tree in a Box: Grotowski in California

In the Winter of 1982-83, Professor Andy Harris, of Columbia University, called David McDonald in our department with an astounding offer: Jerzy Grotowski was in the U.S. and hoping to come to California,...

Sreejith RemananActor’s Training in Contemporary Theatre and its Relevance

Drama is an important visual art which deals with the real life and interacts directly with an audience.

The Blessing Next to the Wounded:
A Story of Art, Activism, and Transformation

Through intuition, I recognize the spirit in people and what they need, but I often can’t keep track of simple facts. I make commitments and forget them five minutes later; my solemn word lasts only until my next breath. I say yes to everyone and everything, which in practice turns out to be the same as saying no. Yet I know I can do better...

ENCORES

Where Should the Theatre Be Now?

An essay we find so important we have been making it available since we first published it in 2001. A must read.

 

 

Ronald RandThe Time Has Come to Build a National Theatre Center

In 1963 President John F. Kennedy reminded us with these words:

“I see little of more importance to the future of our country and our civilization than full recognition of the place of our artists. If art is to nourish the roots of our culture, society must set the artist free to follow his vision wherever it takes him…Art is not a form of propaganda, it is a form of truth…Art establishes the basic human truths which must serve as the touchstones of our judgment.”

Speech To The American Council For The Arts

I LIKE BEING A PLAYWRIGHT, which is fortunate, since that’s one of the few things that I can do with any competence. And it is nice to be able to pass your life doing that which you feel that you might be doing with some competence, and possibly, possibly even communicating with a few people. Because the function of the arts, is it not, absolute communication – to put us in greater contact with ourselves and with each other, to question our values, to question the status quo, to make us rethink that which we believe we believe.

An Account of a Conversation with Jerzy Grotowski about Theatre and Paratheatre - November 8 and 9, 1977

On two evenings, November 8 and 9 of 1977, Jerzy Grotowski held a conference in Portland, Oregon on the Lewis and Clark campus. During those two evenings, a Tuesday and Wednesday respectively, he answered questions from the audience. The first session began at eight in the evening and ended at two in the morning. The second session began at eight but at midnight Grotowski began individual interviews with people who were interested in going to Poland that year for a longer paratheatrical event there. This record is of the conference prior to the interviews.

 

INTERNATIONAL SCENE

Theatre around the world

SPOTLIGHT ON

Tina Chen, Dragan Jovičić, Sachin Gupta, Odile Gakire Katese, Saviana Stanescu, Woodie King, Jr., Maria Helena Pinto, Deborah Asiimwe, Mixkaela Villalon, Alexis Dias de Villegas

The Drama Book Shop


Hirshfeld Drawing of Julie Harris and Laurence Luckinbill reproduced by special arrangement with Hirschfeld's exclusive representative, The Margo Feiden Galleries, NY.


William Esper Studio
The Soul of the American Actor Newspaper