Annie Tyson read Drama and Theatre Arts at Birmingham University before training at the Drama Centre. She began her professional life as an actor in repertory theatre playing a wide variety of roles from Shakespeare to musicals and pantomime and moving into TV and radio. Her interest and curiosity about the actor’s process led her to working as an acting tutor at Rose Bruford College, at Drama Centre and eventually to her becoming the Course Director for BA Acting at Drama Centre where she continued to champion the European classical repertoire with a particular passion for Shakespeare. She now works at RADA and as a mentor for Open Door and is a Patron of the MonoBox. She has contributed to Directing – a handbook for emerging directors and a chapter in Approaches to Actor Training – International Perspectives. She continues to act, on occasion.

Slim but highly useful … [the book] offers a historical, practical, and personalised gateway to an issue which has often bugged Shakespeare scholars and theatremakers alike.

• SECTION 1 Chapter 1. Introduction to the work of Konstantin StanislavksyChapter 2. Stanislavsky’s work on Shakespeare Chapter 3. Stanislavsky’s influence on actor-training Section 2 – Practical WorkChapter 1. Concentration and Circles of Attention Chapter 2. Who (and What) Am I? Chapter 3. The Given Circumstances Chapter 4. The Given Circumstances Chapter 5. Action and Objective and the Superobjective Chapter 6. How Do I Get It? Chapter 7. What Must I Overcome? Chapter 8. What are My Relationships? Chapter 9. Emotion SECTION 3 Case Study Macbeth at RADA 2020SECTION 4 INTERVIEWSProfessor Vladimir MirodanJoseph MillsonNeil SwainDavid ThackerEdward Kemp

Annie Tyson read Drama and Theatre Arts at Birmingham University before training at the Drama Centre. She began her professional life as an actor in repertory theatre playing a wide variety of roles from Shakespeare to musicals and pantomime and moving into TV and radio. Her interest and curiosity about the actor’s process led her to working as an acting tutor at Rose Bruford College, at Drama Centre and eventually to her becoming the Course Director for BA Acting at Drama Centre where she continued to champion the European classical repertoire with a particular passion for Shakespeare. She now works at RADA and as a mentor for Open Door and is a Patron of the MonoBox. She has contributed to Directing – a handbook for emerging directors and a chapter in Approaches to Actor Training – International Perspectives. She continues to act, on occasion.

Slim but highly useful … [the book] offers a historical, practical, and personalised gateway to an issue which has often bugged Shakespeare scholars and theatremakers alike.

• SECTION 1 Chapter 1. Introduction to the work of Konstantin StanislavksyChapter 2. Stanislavsky’s work on Shakespeare Chapter 3. Stanislavsky’s influence on actor-training Section 2 – Practical WorkChapter 1. Concentration and Circles of Attention Chapter 2. Who (and What) Am I? Chapter 3. The Given Circumstances Chapter 4. The Given Circumstances Chapter 5. Action and Objective and the Superobjective Chapter 6. How Do I Get It? Chapter 7. What Must I Overcome? Chapter 8. What are My Relationships? Chapter 9. Emotion SECTION 3 Case Study Macbeth at RADA 2020SECTION 4 INTERVIEWSProfessor Vladimir MirodanJoseph MillsonNeil SwainDavid ThackerEdward Kemp

Annie Tyson read Drama and Theatre Arts at Birmingham University before training at the Drama Centre. She began her professional life as an actor in repertory theatre playing a wide variety of roles from Shakespeare to musicals and pantomime and moving into TV and radio. Her interest and curiosity about the actor’s process led her to working as an acting tutor at Rose Bruford College, at Drama Centre and eventually to her becoming the Course Director for BA Acting at Drama Centre where she continued to champion the European classical repertoire with a particular passion for Shakespeare. She now works at RADA and as a mentor for Open Door and is a Patron of the MonoBox. She has contributed to Directing – a handbook for emerging directors and a chapter in Approaches to Actor Training – International Perspectives. She continues to act, on occasion.

Slim but highly useful … [the book] offers a historical, practical, and personalised gateway to an issue which has often bugged Shakespeare scholars and theatremakers alike.

• SECTION 1 Chapter 1. Introduction to the work of Konstantin StanislavksyChapter 2. Stanislavsky’s work on Shakespeare Chapter 3. Stanislavsky’s influence on actor-training Section 2 – Practical WorkChapter 1. Concentration and Circles of Attention Chapter 2. Who (and What) Am I? Chapter 3. The Given Circumstances Chapter 4. The Given Circumstances Chapter 5. Action and Objective and the Superobjective Chapter 6. How Do I Get It? Chapter 7. What Must I Overcome? Chapter 8. What are My Relationships? Chapter 9. Emotion SECTION 3 Case Study Macbeth at RADA 2020SECTION 4 INTERVIEWSProfessor Vladimir MirodanJoseph MillsonNeil SwainDavid ThackerEdward Kemp