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Most Helpful Customer Reviews
2 of 2 people found the following review helpful:
5.0 out of 5 stars
Unblock the Moment,
Amazon Verified Purchase(What's this?)
This review is from: The Actor and the Target: New Edition (Paperback)
This is not a "how-to" book for the novice, inexperienced actor, but if you do have any experience or training the book is invaluable. I have been an acting teacher for 40 years, and this is the best book on the subject of actor empowerment and living in the moment that I have seen in a couple of decades. The book is a "must read" for any actor, and belongs in a very short list of most important books on the subject.
1 of 1 people found the following review helpful:
5.0 out of 5 stars
The Actor and the Target,
By
This review is from: The Actor and the Target: New Edition (Paperback)
Donnellan truly seems to have inhabited actor's psyches and analyzed their difficulties. He has come up with an understandable and liberating way for actors to think about their work. This is one of the finest understandings of the actor's process that I have read in many years. I first encountered it in its original edition and have been using it to teach more advanced actors ever since. It builds upon the work of Stanislavski, Jung, Adler, Shurtleff, Spolin, Meisner, and the rest of the Greats but its focus is on the actor's internal struggles to realize these ideas. Bravo, I would never teach without this at my side.
5.0 out of 5 stars
Right on Target,
By
Amazon Verified Purchase(What's this?)
This review is from: The Actor and the Target (Paperback)
This book is different. If you are a young actor struggling with understanding playing action, sense memory, substitutions, or if none of these things are part of your process, then don't buy this book.... YET! Instead look into Uta Hagen's book, Respect for Acting, or perhaps even Robert Cohen's book, Acting One. This book assumes that the reader has been trained in modern acting theory, that the actor reading it has understanding of how to play and build a character, and yet still struggles (as we all do) with forms of "block". The author often uses the phrases/teachings of other acting teachers to point out that it is in fact the framing of some of these "tools" that leads to block. Not that the other theorist's ideas are incorrect, but rather that each actor needs to frame his/her process differently, and that the "target" dictates more of the game than we often think. Little of this is plainly stated in the book, much of it is implied, and if the reader hasn't the breadth of experience much of the potential firepower in this text may be missed. Each time you read it you will see another layer. It's a fantastic book for any actor trying to re-evaluate, or sharpen his/her process. It is loaded with truth.
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