| Contents | |
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| Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . | ix |
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| PART ONE: A LITTLE HISTORY . . . . . . . . . . . . . . . . . . . . | 1 |
| Biomechanics: Understanding Meyerhold's System of Actor Training | |
| by Marianne Kubik . . . . . . . . . . . . . . . . . . . . . . . . | 3 |
| Michael Chekhov, Psychological Gesture, and the Thinking Heart | |
| by Floyd Ruhmor . . . . . . . . . . . . . . . . . . . . . . . . . | 16 |
| Theatrical Stillness by Mary Fleischer . . . . . . . . . . . . . . | 27 |
| Teaching Charlie Chaplin How to Walk by Dan Kamin . . . . . . . . | 36 |
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| PART TWO: BODY BASICS . . . . . . . . . . . . . . . . . . . . . . | 51 |
| The Feldenkrais Method by Alan S. Questel . . . . . . . . . . . . | 53 |
| Alexander Technique and the Integrated Actor: Applying the Principles | |
| of the Alexander Technique to Actor Preparation by Teresa Lee . . | 65 |
| An Introduction to Laban Movement Analysis for Actors: A Historical, | |
| Theoretical, and Practical Perspective by Barbara Adrian . . . . . | 73 |
| Breathe Before You Act by Caroline Thomas . . . . . . . . . . . . | 85 |
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| PART THREE: TRANSFORMATIONS . . . . . . . . . . . . . . . . . . . | 97 |
| Mask and Ritual by Shelley Wyant . . . . . . . . . . . . . . . . . | 99 |
| The Smallest Mask: The Red Nose by Jean Taylor . . . . . . . . . . | 104 |
| Discovering Ensemble and Impulse through Improvisation | |
| by Paul Urcioli . . . . . . . . . . . . . . . . . . . . . . . . . | 108 |
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| PART FOUR: BEYOND GLOVE AND FAN . . . . . . . . . . . . . . . . . | 117 |
| Bringing the Past into the Present: Period Dance on the Stage and in the | |
| Curriculum by Nira Pullin . . . . . . . . . . . . . . . . . . . . | 119 |
| Shakespeare Honors the Three Centers of the Body by Susan Dibble . | 130 |
| Some Rehearsal Notes for Moliere and Restoration Comedy Style | |
| by Rod McLucas . . . . . . . . . . . . . . . . . . . . . . . . . . | 144 |
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| PART FIVE: SCHOOLS OF THOUGHT . . . . . . . . . . . . . . . . . . | 153 |
| The Williamson Physical Technique: The Physical Process of Acting | |
| by Lloyd Williamson | |
| An Introduction to Margolis Method(TM): A Dynamic Physical Approach to | |
| Actor Training by Kari Margolis . . . . . . . . . . . . . . . . . | 173 |
| Movement Training: Dell'Arte International by Joan Schirle . . . . | 187 |
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| PART SIX: INSIDE OUT SIDE AND OUT IN . . . . . . . . . . . . . . . | 197 |
| Synergizing Internal and External Acting by Jill Mackavey . . . . | 199 |
| The Actor as Athlete of the Emotions: Rasaboxes Exercise | |
| by Michele Minnick and Paula Murray Cole . . . . . . . . . . . . . | 214 |
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| PART SEVEN: MOVING FORWARD . . . . . . . . . . . . . . . . . . . . | 227 |
| Mind-Body Juggling for the Camera by Erika Batdorf . . . . . . . . | 229 |
| Teaching Postmodern Choreography to Actors: Eschewing the Inebriation of | |
| Emotion Nicole Potter interviews Annie-B Parson . . . . . . . . . | 237 |
| SITI: Why We Train, conversation between Ann Bogart and the SITI | |
| Company compiled by Will Bond . . . . . . . . . . . . . . . . . . | 243 |
| The Problem of Movement Theater by Brad Krumholz . . . . . . . . . | 252 |
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| Contributors . . . . . . . . . . . . . . . . . . . . . . . . . . . | 257 |
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| Training . . . . . . . . . . . . . . . . . . . . . . . . . . . . . | 263 |
| Suggested Reading . . . . . . . . . . . . . . . . . . . . . . . . | 265 |
| Bibliographies . . . . . . . . . . . . . . . . . . . . . . . . . . | 269 |
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| Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . | 271 |