The content of this book is the product of a research process: the object of study is the actor and his creative process for the construction of the character. It is determined that it is during the rehearsal period when the actor lives his creative process, and it is the improvisation the tool that is used to achieve the objective, in particular of the actor when creating his character, and in general of all the other actors and specialists in stage languages, together with the director, to achieve stage dramaturgy as a whole. In these pages the reader will find a methodological proposal that will favor the creation of the character through improvisation, in which he will search, find and define the actions of his character, allowing him the internal and external characterization of the role. We know that this book will be useful to all those who dedicate themselves to the performing arts, professionally or as amateurs, to students and acting teachers; but also, we invite readers in general to learn about the creative mechanisms that an actor faces to build his character.

This book, an essential read in terms of theater pedagogy in Argentina, proposes a set of exercises and games for the training and development of the actor. Jorge Holovatuck and Débora Astrosky, actors and theater teachers with extensive experience, call acting “the great game” and display in these pages an excellent instruction manual on “how to play” and “with what rules.” From practice and reflection they face the most substantial problems of acting: availability, disinhibition, relaxation, work with the imagination, integration, trust, adaptation, knowledge of dramatic structure and many others. Especially aimed at theater teachers throughout the country, this volume includes, along with numerous exercises, the sections “Reflections for the teacher” and “Notes”, where Holovatuck and Astrosky explain how to carry out a planning model, a course, an annual planning and a class plan. Soon Atuel will release other writings on theatrical pedagogy by Jorge Holovatuck and Débora Astrosky, who start from the creative slogan: “Give me a point of support and I will move the world.”

The objective is to give everyone practical tools to set up theatrical awareness. Working approach: give a central place to the body; learn to manage space: others’ space, one’s own; discover the notion of contact and everything that is experienced even before approaching the text within the group. Breathing, relaxation, letting go, improvisation and imagination are the strong points of these 50 exercises. To guide their choice, the user will find pictograms next to each exercise, indicating their specificity and the number of participants. Finally, details are provided on the progress of a session and the schedule for a typical week.

This book, which is the continuation of 60 theatrical training exercises, proposes a preparatory work , as a workshop, for the representation of a play. With the help of a series of commented exercises, which leave a large part to improvisation, training is proposed for collective listening, concentration, relaxation and dynamization of the body, as well as work on breathing, muscles and the joints.

A complete, key work, which will help children enter into your theatrical practice more easily. Teachers, educators and even facilitators will find in this collection 60 theater training exercises for young actors aged 8 and over. These fun and varied little activities will allow you to address different essential aspects of acting, such as reflection and work on the body, space, breathing and voice, listening and rhythm, relaxation. The children will learn, over the course of the sessions, to overcome their shyness, to control their gestures, their voice and to change their state. This book also offers advice on how to organize a session and training for a show or workshop depending on the time available: three days, a week, a school year. Its aim is to help teachers and participants find all the satisfaction promised by this wonderful source of motivation that is theater.

BOOKLET 74. OUR PERVERSION “Stage narration seduced so many playwrights in Mexico during the last ten years that the difficult thing, for some time now, is finding a text with dialogue. Even more so, with a well-written one. The copy that you have in your hands, reader, is one of those unusual cases,” says Alejandro Ricaño in the presentation of the work, whose characters are two employees of a corporation who “spend their workdays tallying numbers to evade taxes, while they plan that one sleeps with the wife of the other.”

THEATER REHEARSAL BOOKLET 47. BODIES IN PERFORMANCE. IMPROVISATION AND COMPOSITION PRACTICES What are the ways of constructing knowledge in the arts of the body? asks Narciso Telles in this essay, whose research, as an artist-teacher, hasbeen directed at the processes and poetics of acting and improvisation in the theater, particularly when it comes to “poetically and politically confronting the issues of our time.” Narciso Telles is an actor, director and researcher at the Study and Research Group on Creation and Training in Performing Arts at the Universidade Federal de Uberlândia (GEAC/UFU), Brazil.

The Uses of Drama : Acting As a Social and Educational Force: An Anthology Aristotle, Barrault, Brecht, Chambers, Laban, Mariwitz, Stanislavski… this book contains personal selection of writings on the theatre, ranging in time from Aristotle to Brook. Included are such aspects as drama as therapy, drama in education and the search for new drama.

Janet Coleman brilliantly recreates the time, the place, the personalities, and the neurotic magic whereby the Compass made theater history in America. The Compass began in a storefront theater near the University of Chicago campus in the summer of 1955 and lasted only a few years before its players—including David Shepherd, Paul Sills, Elaine May, Mike Nichols, Barbara Harris, and Shelley Berman—moved on. Out of this group was born a new form: improvisational theater and a radically new kind of comedian. “They did not plan to be funny or to change the course of comedy,” writes Coleman. “But that is what happened.”

The Improvisation Game: Discovering the Secrets of Spontaneous Performance Packed with exercises and practical techniques, The Improvisation Game explores how improvisation can be used both to create performance and as an end in itself. It reveals the techniques, structures, and methods used by key practitioners in the field of improvised drama, music, and dance—among them are Keith Johnstone, Max Stafford-Clark, Phelim McDermott, Tim Etchells, John Wright, and Robert Lepage.