Collecting advice, quotes, essays, and observations from hundreds of famous actors and highly regarded acting teachers, The Quotable Actor covers a wide range of topics on the art and history of acting. Entertaining, instructive, and informative, it is organized into specific, easy-to-search categories, such as "On Why We Act"; "On Auditioning"; "On Struggling and Building a Career"; and "On Gender Differences and Aging in the Biz." From art and technique to business and lifestyle, entries include fascinating anecdotes and advice from some of the greatest actors in history: Marlon Brando commenting on the rehearsal process Meryl Streep’s advice on building a character Al Pacino recalling what it was like to be a starving young artist Beauty tips from some of Hollywood’s leading ladies Recollections of horrible auditions from A-list stars Musings from Jack Nicholson, Edwin Booth, and many others Additional contributors include Constantin Stanislavski, Daniel Day-Lewis, Ellen Burstyn, Julie Andrews, Paul Newman, and Peter O’Toole—providing insights into the actor’s craft that are equally useful to young actors just starting out and accomplished professionals looking for inspiration in the words of peers.
Perhaps best known for his classic movie lines, such as "Fill your hands, you sons-of-bitches!" from True Grit, the late actor John Wayne often displayed a spontaneous and biting wit when away from the screen as well. When a reporter from the Harvard Crimson sarcastically asked Wayne if he looked at himself as an "American Legend," for example, the Duke replied: "Well, not being a Harvard man, I don't look at myself any more than necessary."
When Bill Baroni was just twenty years old, he was convinced he was dying. He thought he was having a heart attack because it felt like he had an elephant sitting on his chest. It turned out to be only indigestion, but more than that, it was the wake up call he needed to save his life. Bill weighed 320 pounds and was hooked on junk food. He set about to change his life forever, and now, in Fat Kid Gets Fit, he tells you everything you need to know to lose weight and more importantly, keep it off for the rest of your life. No, he’s not a doctor. Not a trainer. Not a salesman hawking gym equipment, vitamin supplements, or workout videos. He did not have gastric bypass surgery and he didn’t subscribe to the slimming grapefruit enema regimes used by Hollywood stars. He lost his weight using common sense. It took dedication, and even some gumption. But it worked! He lost 120 pounds and, more importantly, he has kept it off! He has maintained a healthy 185 pounds for fifteen years. At 6’5”, he is trim, handsome, and healthy. Bill is a man on a mission—to help get everyone fit, no matter what their story is.
Readers will find more than 1,200 of the most biting quotes, comments, and comebacks ever uttered. They'll also see what happens when practically perfect folks like Walt Disney, Mahatma Ghandi, and Audrey Hepburn lose their cool.
Selections from the canon of Walter Benjamin focus on history, technology, and the nature of modernism, in essays on Charles Baudelaire, the crisis of meaning in the modern world, the value of the written word, and other topics. (Philosophy)
From dream research and global belief systems to such unexplained phenomena as bright lights, prescient dreams, near-death and out-of-body experiences, Passings delves into every aspect of the end of life. Taking a scientific and anthropological approach, Carole A. Travis-Henikoff looks at how other cultures deal with death, how diverse kinds of death are treated differently, and how belief systems set the tone for grieving. In addition to the use of science and anthropology, Travis-Henikoff includes both her own personal experiences with the end of life as well as the stories of others who help illustrate the striking realities of passing. Beginning with the many deaths that occurred during Travis-Henikoff’s childhood, Passings moves into an up-close-and-personal look at the tragic three-and-a-half-year period when Travis-Henikoff lost her father, husband, grandmother, mother, and daughter. By combining the personal, the scientific, and the unexplained, Passings offers a comprehensive investigation into the end of life that allows readers to both examine their own individual beliefs about the subject and to gain a better understanding about how we as a species cope with death and dying.
This title explores one of the most central but often overlooked aspects of cinema: film acting. Combining classic and recent essays, it examines key issues. What constitutes film acting? How is film acting different from stage acting? How has film acting changed over the years?.
Originally published in 1971. The Victorian Age was one of popular theatre and increasingly popular journalism. One manifestation of this journalism was the emergence of the dramatic critic from the anonymity and brevity which had previously characterized periodical treatment of the theatre. If Victorian theatre is regarded as existing essentially thirty years before Victoria acceded and continuing until the outbreak of war in 1914, the names of Lamb, Leigh Hunt and Hazlitt at one end, and of Beerbohm and MacCarthy at the other, can be added to a list that includes Lewes, James, Archer, Walkley, Shaw and Montague. All these writers, and others less famous, are represented in this selection. By selecting the articles on the basis of the play in performance, rather than the play as literature, and by arranging them according to various aspects of the theatrical process, this book builds up a skilful and lively picture of the contemporary theatre at work, in the words of its leading commentators. The anthology successfully conveys the qualities of abundance and vitality to characteristic of Victorian theatre.
Writer, broadcaster, and wit Gyles Brandreth has completely revised Ned Sherrin's classic collection of wisecracks, one-liners, and anecdotes. With over 1,000 new quotations from all media, it's easy to find hilarious quotes on subjects ranging from Argument to Diets, from Computers to The Weather. Add sparkle to your speeches and presentations, or just enjoy a good laugh in company with Oscar Wilde, Mark Twain, Joan Rivers, Kathy Lette, Frankie Boyle, and friends. 'Now we have the World Wide Web (the only thing I know of whose shortened form-www-takes three times longer to say than what it's short for)' Douglas Adams 'Not only is there no God, but try getting a plumber on weekends' Woody Allen 'Never go to bed mad. Stay up and fight' Phyllis Diller 'Having a baby is like getting a tattoo on your face. You really need to be certain it's what you want before you commit' Elizabeth Gilbert 'The trouble with having an open mind, of course, is that people will insist on coming along and trying to put things in it' Terry Pratchett 'Retreat, hell! We're only attacking in another direction' American general Oliver P. Smith
The Twentieth-Century Performance Reader has been the key introductory text to all types of performance for over fifteen years. Extracts from over fifty practitioners, critics and theorists from the fields of dance, drama, music, theatre and live art form an essential sourcebook for students, researchers and practitioners. This carefully revised third edition offers focus on contributions from the world of music, and also privileges the voices of practitioners themselves ahead of more theoretical writing. A bestseller since its original publication in 1996, this new edition has been expanded to include contributions from: Bobby Baker; Joseph Beuys; Rustom Bharucha; Anne Teresa de Keersmaeker; Hanns Eisler; Karen Finley; Philip Glass; Guillermo Gómez-Peña; Matthew Goulish; Martha Graham; Wassily Kandinsky; Jacques Lecoq; Hans-Thies Lehmann; George Maciunas; Ariane Mnouchkine; Meredith Monk; Lloyd Newson; Carolee Schneemann; Gertrude Stein; Bill Viola. Each extract is fully supplemented by a contextual summary, a biography of the writer, and suggestions for further reading. The volume’s alphabetical structure invites the reader to compare and cross-reference major writings on all types of performance outside of the constraints and simplifications of genre, encouraging cross-disciplinary understandings. All who engage with live, innovative performance, and the interplay of radical ideas, will find this collection invaluable.