is filled with abundant insights to help actors perfect their craft.
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Most Helpful Customer Reviews
8 of 8 people found the following review helpful:
4.0 out of 5 stars
The book under my pillow,
By M. paul kirby (Paris, France) - See all my reviews
This review is from: The Invisible Actor (Performance Books) (Paperback)
Yoshi Oida, brillant Japanese actor (seen in "The Pillow Book") and stage director has given us a manual for acting. In it however, are many other invaluable techniques for living and for being. I'm a professional singing actor, and these techniques and exercises for standing, walking, seeing, breathing, etc. are principles that I grasped immediately but think about practically every day. A must-own for singers, actors, dancers and stage animals of all kinds. I give this four stars not because it doesn't deserve the five-star rating, but because I would to think that there are maybe only 2 or 3 five-star books in the history of the world, and I would prefer not knowing what they are.
6 of 6 people found the following review helpful:
4.0 out of 5 stars
The unseen actor is the best,
By Sternenkreis.de (Frankreich) - See all my reviews
This review is from: The Invisible Actor (Theatre Arts (Routledge Paperback)) (Paperback)
A wonderful book that reaches the essence of acting and goes to the core of the craft on a very physical way by trying to build a body that can make place to any character or role one wants to act. Full with exercices. But don't expect a book that tells you how the business works - this is about the craft!
6 of 6 people found the following review helpful:
4.0 out of 5 stars
Becoming the work,
By
This review is from: The Invisible Actor (Theatre Arts (Routledge Paperback)) (Paperback)
Thanks to Lorna Marshall, these ruminations on the actor's art are organized and brought together with discussions of method so that it is conversational and discursive, yet still coherent. Yoshi Oida discusses eastern techniques for the western artist, putting western ideas about acting into relief and offering useful tools. Some may find discussions of technique only whet the appetite for what the book does not offer - a more systematic approach to working on character, text, and partner work. The book serves more for inspiration than training, though Oida does make many practical suggestions for warming up and preparing for the work. Oida has the background and experience - especially his work with Peter Brook's truly international theatre - to transcend east and west; and his love for the craft of acting, for precision as well as freedom, make this required reading for acting students and teachers.
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