Book Description
Impro ought to be required reading not only for theatre people generally but also for teachers, educators, and students of all kinds and persuasions. Readers of this book are not going to agree with everything in it; but if they are not challenged by it, if they do not ultimately succumb to its wisdom and whimsicality, they are in a very sad state indeed . . . .Johnstone seeks to liberate the imagination, to cultivate in the adult the creative power of the child . . . .Deserves to be widely read and tested in the classroom and rehearsal hall . . .Full of excellent good sense, actual observations and inspired assertions -- CHOICE: Books for College Libraries.
Customer Reviews:
Impro.......2007-08-06
As a theater actor, this book has been a very good tool for me. It has made me a better listener which is important on the stage. Just memorizing lines is not enough. In case someone drops a line, you can immediately come to their rescue, without making them look bad, thus maintaining the scene. I highly recommend this to anyone in the theater.
not only for actors.......2007-06-21
I read this book more than 15 years ago. On that time I was an engineering student taken some classes on pantomime. The book was absolutely helpful to undestand some hidden rules in terms of space, rythm, all things that are very dynamic on improvisations.
I also remember another book that my teacher recommended me, 'To the Actor' by Michael Chekhov.
Johnstone's book helps not just for acting. It is a good aid to recognize what helps and what inhibits our behaviour in groups. The book is plenty of examples and every point is well demonstrated.
Essential for actors, teachers, directors, and other humans........2007-01-18
This is an essential book for teachers of any subject, actors, directors, and/or any other human.
great book to learn improvisation.......2006-11-04
Although it is a small book it contains so much information. Very clear and clever, especially the chapter that deals with status.
Meaningful stuff, makes you think........2006-06-13
This was the first improv book that I ever read, and in retrospect I kind of wish I'd read something like Charna Halpern's TRUTH IN COMEDY or Mick Napier's IMPROVISE first. Those books will give you a better introduction to what most of us know of as group improvisation - the "Whose Line is it anyway" sort of thing. They'll give you a better framework to work with.
Keith Johnstone's book, on the other hand, is kind of like a complete rethinking of the Improv framework ... he writes about things I haven't read about anywhere else. And it really made me think about things in a different way.
First of all, I have to admit that the first couple of sections are pretty dry. I had to struggle to get through the section on "Status" ... I was thinking to myself, why did people give this BORING book a good review?? ... I did consider that maybe it's because the man is British (I think), and so the style of writing and the type of humor is a little different than I'm used to.
However, when he gets around to talking about the story/narrative, suddenly there is a flash of brilliance and it all started to make sense ... basically he talks about just letting GO of the things that are inhibiting us, how to stop listening to the voice that is telling us NO all the time ... and, I don't know, there's just something very profound in the way that he discusses it - little insights here and there that are just, for lack of a better word, very MEANINGUL.
For example, he says, of parents and teachers who scold their children, to keep their undesirable 'creativeness' under wraps: "... when these children grow up, and perhaps crack up, then they'll find themselves in therapy groups where they'll be encouraged to say all the things that the teacher would have forbidden during school." SO TRUE. This is what all the group therapies in Psych hospitals do - try to bring back the creativeness of the child. Why do we limit it in the first place??
Basically he stresses that EVERYONE has "weird" thoughts and an "artistic" nature that many of us have learned to say NO to, because they are forbidden or at least not encouraged. He says, "In one moment I knew that the valuing of men by their intelligence is crazy, that the peasants watching the night sky might feel more than I feel, that the man who dances might be superior to myself - word-bound and unable to dance. From then on I noticed how warped many people of great intelligence are, and I began to value people for their actions, rather than their thoughts."
And that's not EVEN getting into the last chapter, on MASKS - at first I was thinking, "OK, this is weird, why is there a huge chapter on MASKS in a book about IMPROV"? But the things he describes there are perhaps the most amazing, and disturbing, of the whole book. It almost makes me fear what I would "do" if I were to follow his instructions and suggestions ... but it's an excited sort of 'fear' - actually I wish I had readier access to instructors who are comfortable in these methods ... well, I can't really describe it much better than that.
Book Description
Impro for Storytellers is the follow-up to Keith Johnstone's classic Impro, one of the best-selling books ever published on improvisation. In this book, Johnstone takes a further decade of experience as a teacher and coach and explores how an individual's potential can be released in group settings.
"Be more boring!" he might yell to a student striving to be original.
"Be more obvious!" he could advise a clever performer.
These are unorthodox techniques, but ones that are part of the games that have made Johnstone's work uniquely effective in the theatre community. Beyond its strictly theatrical applications, Impro for Storytellers aims to take jealous and self-obsessed beginners and teach them to play games with good nature and to fail gracefully.
If you've ever been clumsy and awkward, this book will improve your interpersonal skills and encourage a life-long study of human interaction.
Customer Reviews:
Best Improv Guide Around.......2007-09-09
If you're going to read only one book about improvisation, read this. If you read two books, wait a month or two and read this again. I've been part of a professional improv performance group for the last five years and every time I read this book it fills me with new levels of information and wisdom.
Many people never discover this book because they read Johnstone's first book, Impro, and find it difficult to apply as well as not very relevant once it delves into the eccentric world of mask work. Impro for Storytellers is highly relevant, contains many games, exercises, and suggestions to try, and is a highly entertaining read. I recommend reading this first and reading Impro later if you enjoy it. I certainly enjoyed it over and over again.
What I've been waiting for!.......2007-06-01
I've used Keith's Impro for several years, and this book is just what I've been looking for! It gives the kind of details I've been for to use in my classes and performances.
Impro for Storytellers.......2007-05-12
I am not yet received my stuff and I am waiting for
Incredibly Useful.......2006-09-06
This is quite a large book, pretty much entirely made up of a wide variety of games for actors with vivid examples of what students come up with under pressure, and thorough explanations of the goal of each excercise. It's extremely well written and just as good as something to sit down and read, as something to get up and play with.
The games range from easy to very hard; many would make excellent fun warm-ups to introduce non-actors to basic acting theory and to interacting with an audience. What makes this book unusual for an acting text is the emphasis on story, and the highly audience-centric approach to performance.
I would seriously recommend this book to writers, screenwriters, and story artists. The ultimate goal for Johnstone is to teach his improvisers to hook the audience and keep them hooked by altering tactics, reversing, raising the stakes, setting up expectations. Throughout, his unexpected cry of "Be obvious! Don't be creative!" keeps the story being invented on an engaging emotional level.
I bought this because I'm teaching a class involving some acting, but found so many exciting ideas for plotting I want to send a copy to everyone I know in story. First rate.
Essential Improv Reading!.......2004-01-10
I thought that Keith Johnstone's first book "Impro" was the best book on Improv -- until I read this. Impro For Storytellers is chock full of imaginative games that will make any improv workshop (or communications training) sparkle with creative fun and learning by taking the pressure off of being creative.
If you want the best collection of improv games since Spolins "Improvisation for the Theatre", this is it. Johnstone paces the book with wonderful stories of how the games have been used under all sorts of circumstances, with a brilliant and dry sense of wit. If you are interested in improv, please read this book!
Book Description
The Viewpoints is a technique of improvisation that grew out of the postmodern dance world. It was first articulated by choreographer Mary Overlie, who broke down the two dominant issues performers deal with-space and time-into six categories. Since that time, directors Anne Bogart and Tina Landau have expanded her notions and adapted them for actors to function together spontaneously and intuitively and to generate bold, theatrical work.
The Viewpoints are a set of names given to certain principles of movement through time and space-they constitute a language for talking about what happens on stage. Coupling this with Composition, which is the practice of selecting and arranging the separate components of theatrical language into a cohesive work of art, provides theatre artists with an important new tool for creating and understanding their art form.
Primarily intended for the many theatre artists who, in the last several years, have become intrigued with Viewpoints yet have had no single source to refer to in their investigations. It can also be used by anyone with a general interest in collaboration and the creative process, whether in art, business or daily life.
Anne Bogart is Artistic Director of the SITI Company, which she founded with Japanese director Tadashi Suzuki in 1992. She is the recipient of two OBIE Awards and a Bessie Award, and is an associate professor at Columbia University. Her recent works include Alice's Adventures; Bobrauschenbergamerica; Small Lives, Big Dreams; Marathon Dancing; and The Baltimore Waltz.
Tina Landau, noted director and playwright, whose original work includes Space (Time magazine 10 Best), Dream True (with composer Ricky Ian Gordon) and Floyd Collins (with composer Adam Guettel), which received the Lucille Lortel Award for Best Musical, an OBIE Award and seven Drama Desk nominations. She has been an ensemble member of the Steppenwolf Theatre Company since 1997.
Customer Reviews:
Viewpoints.......2007-03-08
I wanted a good, basic look at Viewpoints and this book has been exactly what I hoped it would be. It is to the point but still offers enough explanation to make sure the reader understands each viewpoint. If you want a good, basic background of the work this book does well.
Indeed a "practical guide".......2007-01-11
This book was highly recommended to me by a dancer friend, and I've found it to be extremely useful for dance improvisation sessions I'm leading with a group of non-dancers. The authors offers numerous exercises that groups can build on, experiment with, and use to generate skill and teamwork. If you're looking for inspiration for your own performance project or creative ideas for group activities, you will find them here.
Must Own.......2006-05-26
This book is a must-own for actors looking to learn about the physical traning of Viewpoints.
It's great, and practical, and you'll find yourself learning.
A must for every actor's shelf.
FINALLY!.......2005-12-10
It took forever to finally arrive.. both in the sense that it kept getting delayed, but more importantly as a director who has trained with Viewpoints and wanted to impliment them into my work.
The book is very accessible to even those who have not taken any Viewpoints classes with a laid out ground plan for how to introduce each Viewpoint as well as how to use them in rehearsals and creating new pieces. The end of each section includes several options to eithe expand or replace, making the plan fit perfect for whatever you're doing. I read it cover to cover in a sitting and will be referencing it in the future as I direct those new to Viewpoints as well as those previously exposed.
Book Description
The best comedy improv singers know every trick in this book, a great addition to any performer's library. Clear, everyday language explains each element of an improvised song. Simple building blocks are combined with performance tips to raise a performer's musical improvisation to its highest level. The included CD, featuring cast members from ImprovOlympic West's hilarious Opening Night, The Improvised Musical, provides * examples * exercises * practice accompaniments
Customer Reviews:
A great overview but not very indepth.......2007-06-08
I did enjoy reading this book; the author has a nice style and covers a good range of information. There were several areas in the book where the author pointed to other books for further information that I was hoping would be included in this book, but it is a short and inexpensive introduction to musical improv. The CD really makes it worth getting. It not only demonstrates some of the concepts but also has plenty of tunes to use for practicing your own improv. Perfect for getting you started on musical improv, just realise that you probably will want to pull from other resources as well.
Get the Hook and Get this Book.......2006-10-17
I found Michael Pollock's Musical Improv Comedy an excellent compilation of technique, theory, and practical exercises explained in a way that is easy to understand for those of us with no previous musical training. Pollock has that rare ability of being able to connect with both the advanced performer and the beginner -both will find his work valuable and relevant- especially with regard to understanding the craft of musical improv and applying the creative skills. The book's format is clear, well-structured, fun and easy to move through. Each chapter includes concrete examples and exercises for practice. The practice CD deserves special recognition, as it makes the learning process even more compelling and truly enjoyable.
Under Michael's clear direction, you'll discover how exciting and stimulating the art of improvising a song can be. Allow yourself to have fun and get ready to sing along.
Practical, inspiring and highly, highly readable........2006-10-06
I really couldn't recommend this book highly enough - Michael Pollock is one of those rare people whose genius at what he does is equalled by his genius at teaching it.
As an Aussie improviser who has always loved musical improv (but only seen its application limited to the odd 'theatre-sports' style game) reading this book marked a real turning point for me. Not only did it open up my mind to the possibilities of musical improv, but it explained the nuts and bolts of how to do it in a clear and simple way. This book has laid the foundations of how to approach musical improvisation, while igniting my passion for it!
The CD is brilliant too, bringing to life the examples in the book and allowing you to put your skills into practice right away.
If you're at all interested in musical improv, don't even question it: just buy it now!
Jenny Wynter, Australia
The Easiest and Most Complete Resource I've Found.......2004-07-22
I teach Children's Comedy Theatre in North Hollywood. We have been doing improvised singing for a long time and I've always wanted a nice easy resource to use when teaching people how to create a song on the spot. This book is it. Not only is it VERY simple to follow and an excellent source of information, it also contains a CD that will be a fixture in my teaching for ages to come. If anyone has ever improvised a song, played music, or just wanted to be able to think quicker on their feet, this is the book for you.
A Direct Hit.......2004-06-27
Finally a book that focuses on the MUSICAL aspect of improv comedy. I've seen many performers engage in sketch comedy but very few who understood the musical improv aspect of live comedy - probably because it's far more demanding of the performer's skills and harder to develop technique. That's where Michael Pollock's Musical Improv Comdey fills a vast void in educating the aspiring sketch comic. The book breaks down the process - getting song ideas from the audience, a proper intro, rhyme schemes, rhythms, song structures and styles, song hooks and endings. My favorite part is that the book comes with a cd and exercises that get YOU involved, not just reading about it! This book is entertaining for anyone interested in comedic musical improv and a MUST-HAVE for anyone interested perfroming sketch comedy.
Book Description
For more than 20 years of directing, teaching, and participating in improvisation, Mick Napier has watched thousands of scenes. His experience as founder of the acclaimed Annoyance Theatre/Annoyance Productions, as well as Resident Director and Artistic Consultant for The Second City, has led him to continually question why and how scenes work or don't work and what one must do in order for a scene to be successful.
In this book, Napier takes an irreverent, but constructive look at the art and practice of improvised scenes. He covers such topics as:
- two-person scenes
- group scenes
- entering scenes
- techniques to achieve richer, more layered scenes
- auditioning
- solo exercises for practice at home.
Napier also challenges the conventional wisdom of the rules of improvisation, examining what's behind them and how they came to be in the first place.
Get helpful, tangible guidelines for bringing strength and direction to your scenes. Just Improvise.
Customer Reviews:
Good for what it is.......2007-09-21
I read this book while I was taking an improv class, in order to help me with my scene work. If you can get past the author's rambling (it would probably have been a 10 page book but for the pages of stream-of-consciousness writing), it is clear that the author has a great deal of improv experience. Many of his suggestions come from a beginner's point of view, which is very helpful. It also is based on the concept "truth in improv" and shows the reader that it is not necessary to be funny, but merely to be something. I would suggest this book for anyone who is trying their hand at improv and needs help getting out of their head.
Great book for improv basics and improv classes........2007-08-16
This is probably one of the better books out their for beginning improvisers and for improv teachers to use as a resource or textbook for college level or high school level improv classes. Having worked and done workshops with members of the Annoyance Theatre, I will say that they are the leaders in improvisational study and experimentation today. Highly recommend for pros as a reminder of the basics and for beginners to learn how to make their improvisation techniques in either long form or short form sharper.
A very helpful book for improvisors.......2007-06-08
I enjoyed this book very much. Rather than force you to learn what NOT to do in improv (The Rules) he explains why he thinks the rules came to be and why they are not necessarily important. He focuses more on what works and what doesn't. To do good improv you need to be out of your head, rather than in your head filtering through rules and determining what your correct response should be. Use your total brain power reacting and creating! He then presents concepts that can be used to advance scenes to a higher level. Best of all he has numerous things to practice at home, by yourself, to help you become a better improvisor. I read this and Truth in Comedy at the same time. They are both very good but I liked this one better for where I am in improv right now.
Sharp analysis of improvising.......2007-04-10
This book has a slightly different way of approaching improv than most other books. This "slightly" different way is, however, an enormous important insight. Napier turns things upside down: bad improv doesn't come from breaking the improv-rules, but people break the improv rules because they play in a scene that is not going well. Napier suggests we get rid of rules. Instead of telling us excactly what to do or what not to do (which gets us into our head), he gives us improv players ways of entering a scene which makes us do all the good stuff without second (or first) thoughts. The psychology of an improv player is very accurately analysed. Since reading this book, I discovered improved results with my improv classes. However, although I think Napiers book is a very important step in discovering how to play improvised theatre, I think this book is too one-sided to use as a sole source. It is very good "anti-dote" against where the classical improv methods go wrong. But the book is too one-sided to replace them.
Good Experience.......2007-04-06
The order process was fast and I received the book in a timely fashion. I would do business with this seller again.
Customer Reviews:
Redundant and unnecessary.......2007-01-05
"Truth in Comedy" is a decent little book that lays out well the philosophy of Improv and the Harold structure. "Art by Committee" reiterates some of what's in Truth, very slightly expands on some of the concepts, but mostly it's just chatter about IO, improv, and Del Close. There's a whole lot of former students talking about how great improv is. There's a whole lot of vague ruminations on how great improv is. And there's a whole lot of pretty pointless... addenduming (if that's a word). The book is like one big addendum to Truth in Comedy, one big "what I was saying is..." and "oh yeah, I forgot to mention this (insignificant thing related to something from Truth)". All of this is stuff you'll hear from your teachers at any decent improv class (minus the personal stories, of course). Plus, it's just not that well written. It's poorly organized and poorly conceived and the writing style is far too conversational. But given that not much is being said and really, it's all just fluff and filler, I guess an overly conversational style is the only way to pad it out.
If you live somewhere with no access to decent improv then the DVD may be of some help. The book... well, if you're in Podunk, Nowhere the book might help flesh out a few things from Truth in Comedy as it has some examples of things that worked out or didn't and how they might have gone the other way had the players followed/not followed the rules, stuff like that, but for anyone else actively studying improv, don't bother.
Good book, excellent DVD.......2006-10-30
There is some good info in this book. The best part of the book is that Halpern references examples from the included DVD to illustrate some of her points. These examples come in the early chapters and are by far the strongest part of the book.
In fact, the DVD itself is worth the price of the book with full performances by "Beer Shark Mice" and the "Reckoning" as well as performance snippets of ASSCAT and an Armando (with Joe Bill as the Armando). There are also interviews with various well known improvisers such as Tina Fey, Tim Meadows, etc.
Halpern's writing is weak because - even though she makes good points - she never takes you through the whole thing so that you can get it. A book that would lay out specific issues in teaching long form improv and then useful exercises and teaching points would make for a more useful book. It seems like she is either describing the final result (what makes up a Harold, for example) or making a small teaching point (how to treat mistakes as gifts), but she's never taking you through the whole process. If Halpern could write with the discipline of Carol Hazenfield (see Hazenfield's "Acting on Impulse"), you would have an excellent long-form improv book.
Halpern uses the last part of the book to tell some stories about Del Close and the history of improv. Anyone with an interest in the development of long-form will find this part of the book interesting.
"Art" is a good book - not great, but good. Even if you are not a fan of Halpern's work, the DVD itself is worth the price of the book.
Very strongly recommended for all students of acting and improvisational comedy.......2006-06-02
Inherently entertaining and informative, Art By Committee: A Guide To Advanced Improvisation offers its readers an inspired and inspiring understanding of the philosophy and visual outlook of life through the wisdom and guidance of Charna Halpern. As a long-term improvisational co-creator and comically creative mind, Charna presents Art By Committee as her most informative and constructive guide to date through the incredible art of improv acting and performance. Art By Committee is very strongly recommended for all students of acting and improvisational comedy, as well as those searching for a personal history of Del Close and Charna Halperns.
Customer Reviews:
The gold standard ..........2007-05-15
A good student must always seek a master, and Viola Spolin is a master of improvisational theatre. The book is filled with powerful games and information to support not only improvisational theatre, but truthful acting and being "in the moment", a hallmark not only of improvisational theatre, but acting.
Very dry, like a boring textbook ... odd, stilted language........2006-06-13
There's something strange about the way this book is written ... I can't quite put my finger on it. Maybe it's MEANT to be a TEXTBOOK, but ... it's just strange. It's like, you would think that the subject matter (improvisation) would be associated with a lot of excitement and energy, lots of enthusiasm ... instead, it's just a dry, boring textbook. Very cold and impersonal. The other books I've been reading, including Keith Johnstone's IMPRO, Chalma Halpern's TRUTH IN COMEDY, and Mick Napier's IMPROVISE, are written with enthusiasm and what seems like genuine joy ... the way you'd think a book on improv should be.
Another thing that was odd - one of the co-authors is Paul Sills, who is apparently Viola Spolin's son ... yet in his "Foreward" (or maybe it's the introduction), he refers to her only as "Viola Spolin" this and "Viola Spolin" that ... again it just seemed so impersonal, like he was giving an academic speech before a bunch of old professors. No warmth at all.
And all through the book, Viola Spolin uses the same cold, impersonal language to talk about what should be fun, amusing memories - like, instead of saying "Once in one of my classes there was etc. etc." she'll say "In a class taught by this author, an incident occured at which etc etc" ...
These are minor things, I guess ... maybe I'm asking too much but I guess the bottom line is that, for me, this book (unlike the other books I've mentioned) failed to convey any sense of the thrill and delight that improv is.
Spolin Is Better Than NyQuil !.......2005-01-29
After reading the first page of Spolin's first chapter I was intrigued. Several pages later, I was sound asleep. I attribute this to the fact that Viola Solin, when she's theorizing, writes like Immanuel Kant tripping on acid. This was especially discouraging, since I had just finished reading Audition by Michael Shurtleff, which is the most clearly written and insightful book on acting anyone could ever ask for.
Skimming the exercise descriptions, I found some of them tedious ("Play a salesman with only your calves!") and some of them risible ("Scream with your elbow!"). Also, her chapter on Emotion seems to contradict the entire Method acting tradition, which, thankfully, she is in no danger of overthrowing.
I'm sure that there are some useful points that this book makes, or might make through its exercises, if I cared to try them. But thanks to Spolin's soporific word-salad, her points are a pleasure to miss.
If you can only buy one book........2003-03-26
In fact any other book you may buy will have most of spolins ideas.
If you are guiding any one in an improvisational education. this is the best. It is very important for improvisers to learn about comedic improv through spolins techniques. all other forms of improv is about the joke which lets face it is only funny because you know the performers. but spolin allows you to discover the scene not the joke. and if you are naturally a funny person chances are your scene will be funny. this is not to say that the funniest guy wont have a serious scene .some times when an improv is a true improv you have to let it be what it is whatever it is.
great book. great book .fun book. gauranteed to give you guru status if you follow her instruction. after all you will be giving the most wonderful gift to all your students. your students will develope as improvisers the correct way and will be able to work with anyone.
The Bible of Improv.......2002-10-23
Or, thanks to the new and brilliant approaches of Halpern and Johnstone, The Old Testament of Improv.
At any rate Viola Spolin influenced improv more than any other human being. She was the first, the pioneer. Her son, Paul Sills, founded both The Compass and Second City. He carries on her work.
Easily 90+% of all improv exercises taught in American universities are derived from her. And most mediocre books on ipmrov are small samplings of re-cycled Spolin exercises, without her focus.
Which is a nice way to segway into telling the reader that even 'The Bible' is bound to disappoint if one misses the theme of Spolin's thought.
Without it one simply gets a collection of 'games' that are ponderously cross referenced. (And a big so what.) It'll gather dust on the bookshelf as a 'reference work'
Here's a secret: Spolin was far less concerned with the comedy audience suggestion improv theater ( Second City notwithstanding.) Her main concern was training actors.
(Her influence has been vastly underestimated, e.g; Meisner trained actors should check out her "Preocupation A" exercise. You'll get deja vu. And Spolin came first.)
She took one of Stanislavsky's best idea, "Concentration of Attention" and ran with it. She created the credo of POC (point of concentration) and 'sidecoached' the players into weaving magic . . .
Customer Reviews:
the notebook i wish i'd had for the class..........2001-12-29
i had the esteemed privilege of working with bill forsythe in a week long intensive class while he was visiting ucla during the spring of 2001. he spoke about most of the processes you will find on this cd-rom; however, the cd-rom is MUCH easier to follow than some of the class discussions we had... bill is a genius and sometimes left everyone in the room with blank looks on their faces, because he would jump into an idea without remembering that we didn't necessarily know the train of thought that got him to the idea he was currently discussing... that is definitely not a problem on the cd-rom -- it is exceedingly clear, and the concepts are demonstrated in actual choreographic examples. the disc is well organized, and very inciteful. if the ideas themselves aren't interesting enough, there's the fabulous design and layout of the whole package that will keep you fiddling for a long time. this is a must for anyone interested in bill forsythe, choreographic processes, dance for visual media, design for movement arts, and movement improvisation. check out bill's solo which is included on the disc as well!!
Watching Impro.......2000-11-24
The CD Rom format for this resource, allows for a visual insight into Forsythe's improvisation techniques. Planned initially as a training tool for new members of his company, the CD Rom offers much more for the analytical eye.
The format is very slick and the interface provides for easy navigation aroung an aesthetically pleasing environment. For those studying Forsythe's work, the resource is a must, as not only does Forsythe explain characteristic techniques such as room writing, but several performances by Forsythe as well as by other dancers, demonstrate each of the processes.
The 3D format is certainly the most appealing feature of the resource, and one which makes it stand apart from other resources on choreographers or improvisation.
Average customer rating:
|
The Actor's Scenebook: Scenes for Beginning Actors to Create
Mack Owen
Manufacturer: Longman
ProductGroup: Book
Binding: Paperback
 Acting & Auditioning
| Theater
| Performing Arts
| Arts & Photography
| Subjects
| Books
General
| Theater
| Performing Arts
| Arts & Photography
| Subjects
| Books
General
| Performing Arts
| Arts & Photography
| Subjects
| Books
General
| Arts & Photography
| Subjects
| Books
General
| Foreign Languages
| Reference
| Subjects
| Books
Look Inside Entertainment Books
| Trip
| Specialty Stores
| Books
Look Inside Reference Books
| Trip
| Specialty Stores
| Books
All Titles
| Qualifying Textbooks - Fall 2007
| Stores
| Books
Arts & Photography
| Qualifying Textbooks - Fall 2007
| Stores
| Books
Entertainment
| Qualifying Textbooks - Fall 2007
| Stores
| Books
Reference
| Qualifying Textbooks - Fall 2007
| Stores
| Books
Similar Items:
-
An Actor Prepares
ASIN: 0065001451 |
Customer Reviews:
A wonderful book on Tap.......2007-08-04
I bought this book last year, to teach my self to tap along with Bonnie Franklin's dvd and it has been great. It is so easy to understand. I am slowly working through the step and drills. I love referring back to this and I think I will forever. It is fantastic. A great teacher reference also.
Great for Rythm Tapping.......2000-07-28
I was trained in traditional and flash tap dancing, so I knew very little about rhythm tap. This book goes over the basics of tap and many traditional tap steps. What makes it so great, though, are the in-depth explanations of rhythm, dynamics, syncopation, accents, and new forms of tap, including rhythm tap and orchestrated tap. The explanations are clear and easy and the practice exercises are excellent. This is a must-have book for anyone wishing to expand their tap knowledge and artistry.
Excellent how to book, but it's no dictionary.......2000-03-27
I'm an advanced tapper who just recently began teaching an intermediate tap class. I decided to find a dictionary of tap in case one of my students asked me about a step I may not know. I ordered this book and realized that it was no dictionary. So if you're looking for a dictionary I suggest looking somewhere else. It is a wonderful how to book though! For instance it talks about syncopating the beat, has pictures of proper placement of your your foot on shuffles, tons of combinations, etc. I suggest this book to tap teachers of all levels and students interested in bettering themselves!
A must-have for tap teachers and students.......2000-01-05
This book has been a wealth of ideas and information. I use many of the drills and combinations in my classes. They are clearly notated and easy to understand (which is unusual for a "book" on tap dance). I would recommend this book for anyone at an intermediate level or higher. Well worth the money!
Books:
- It's Not About the Truth: The Untold Story of the Duke Lacrosse Rape Case and the Lives It Shattered
- Led by Their Dreams: The Inside Story of Carolina's Journey to the 2005 National Championship
- Making Polymer Clay Beads: Step-by-Step Techniques for Creating Beautiful Ornamental Beads
- Mastering the Chess Openings: Unlocking the Mysteries of the Modern Chess Openings, Volume 1
- Match Wits With Mensa: The Complete Quiz Book (Mensa Genius Quiz)
- Merce Cunningham: Fifty Years
- My Best Mathematical and Logic Puzzles (Math & Logic Puzzles)
- Official Final Fantasy VII Strategy Guide
- ONLINE ACE: A WORLD SERIES OF POKER CHAMPION'S GUIDE TO MASTERING INTERNET POKER
- Open Secret: Versions of Rumi
Books Index
Books Home
Recommended Books
- Tools and Tactics for the Master DayTrader: Battle-Tested Techniques for Day, Swing, and Position T
- Physicians' Desk Reference 2007
- Japanese Cinema Encyclopedia: Horror, Fantasy and Science Fiction Films
- Love and Other Four-Letter Words
- Secrets of Voice-Over Success: Top Voice-Over Actors Reveal How They Did It
- Sweetgrass
- Moss Gardening: Including Lichens, Liverworts and Other Miniatures
- The Complete Idiot's Guide to Beating Debt, 2E
- Ownership and Control: Rethinking Corporate Governance for the Twenty-First Century
- Seduction of Water
Truth in Comedy: The Manual of Improvisation
Impro for Storytellers (Theatre Arts (Routledge Paperback))
Improvisation for the Theater 3E: A Handbook of Teaching and Directing Techniques (Drama and Performance Studies)
Improv Wisdom: Don't Prepare, Just Show Up
Sanford Meisner on Acting
