An Actor's Tricks by Lorna Marshall, Yoshi Oida

By Lorna Marshall, Yoshi Oida

A founding member of Peter Brook's foreign theatre corporation, Yoshi Oida infuses his appearing and directing with the artistry of the Oriental traditions and a mastery of Western types. during this disarmingly available learn of the artwork of acting he stocks his certain adventure and diversity of craftsmanship. An Actor's tips offers a meticulous scrutiny of the actor's guidance for functionality and springs with a foreword through Peter Brook.

Drawing on an unrivalled wealth and diversity of craftsmanship within the fields of appearing, directing and coaching, Yoshi Oida and Lorna Marshall offer an authoritative and interesting examine of the paintings of the actor.

In scrutinising the method of functionality from the dual views of the actor and director, An Actor's Tricks is stuffed with hints, insights and stories from productions with Peter Brook and from all over the world.

Beginning with the day-by-day practise to coach the physique, it strikes to the method of practice session for a functionality correct up-to-the-minute whilst the actor steps onstage. An appendix of practical workouts is incorporated for the actor to follow.

The books combines ideas and strategies from either Western and japanese disciplines of performing to supply a masterful research crucial for each actor and director.

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Sample text

In fact, I usually forget to watch. But I really would like to do it as much as possible. As well as telling me to aim for ri-ken-no-ken, my Master gave me a further piece of advice: ‘When you go to Europe don’t think about your own success. ’ When I was young I learned a lot and I tried very hard to show it, so other actors hated to be my partner. But eventually I questioned why I did this; it is meaningless and made me feel bad, because I was not respecting relationships with other people. All of us have to learn how to work with other people and to create a genuine exchange with them.

But in these cases we are looking at other people only for ourselves, for how they affect us, how they meet our needs. We don’t go deep inside to see who 52 An Actor’s Tricks they are themselves. In Japanese there are two different verbs for ‘to look’; ‘kan’ and ‘ken’. ‘Ken’ is to look at the outside, while ‘kan’ is to look at the inside. When Yoshi was rehearsing his production of Curlew River in Rouen, he used the following exercise as part of the preparation for the singers. Walk up to another performer, stop, look deep inside that person and make a personal gesture of greeting.

If I carelessly put props on the floor, he would become very angry. He said that they are very important, more important to me than my own self, a great treasure that I should treat with respect. He said I had to think about them differently. He reminded me that I should never ‘use’ props; instead, I should attempt to produce a relationship between the props and myself. In fact, there were three possibilities: I could show my character through the props, or I could show the props through my actions, or I could try to show the relationship between myself and the props.

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