Hillary Haft Bucs – författare

Objectives, Obstacles, and Tactics in Practice is the first book that compiles practical approaches of the best practices from a range of practitioners on the subject of working with Stanislavski''s "objectives," "obstacles," and "tactics."

The book offers instructors and directors a variety of tools from leading acting teachers, who bring their own individual perspectives to the challenge of working with Stanislavski''s principles for today''s actors, in one volume. Each essay addresses its own theoretical and practical approach and offers concrete instructions for implementing new explorations both in the classroom and in the rehearsal studio.

An excellent resource for acting and directing instructors at the university level, directing and theatre pedagogy students, high school/secondary theatre teachers, and community theatre leaders, Objectives, Obstacles, and Tactics in Practice serves as a resource for lesson planning and exploration, and provides an encyclopedia of the best practices in the field today.

Objectives, Obstacles, and Tactics in Practice is the first book that compiles practical approaches of the best practices from a range of practitioners on the subject of working with Stanislavski''s "objectives," "obstacles," and "tactics."

The book offers instructors and directors a variety of tools from leading acting teachers, who bring their own individual perspectives to the challenge of working with Stanislavski''s principles for today''s actors, in one volume. Each essay addresses its own theoretical and practical approach and offers concrete instructions for implementing new explorations both in the classroom and in the rehearsal studio.

An excellent resource for acting and directing instructors at the university level, directing and theatre pedagogy students, high school/secondary theatre teachers, and community theatre leaders, Objectives, Obstacles, and Tactics in Practice serves as a resource for lesson planning and exploration, and provides an encyclopedia of the best practices in the field today.

Embodied Playwriting: Improv and Acting Exercises for Writing and Devising is the first book to compile new and adapted exercises for teaching playwriting in the classroom, workshop, or studio through the lens of acting and improvisation.

The book provides access to the innovative practices developed by seasoned playwriting teachers from around the world who are also actors, improv performers, and theatre directors. Borrowing from the embodied art of acting and the inventive practice of improvisation, the exercises in this book will engage readers in performance-based methods that lead to the creation of fully imagined characters, dynamic relationships, and vivid drama. Step-by-step guidelines for exercises, as well as application and coaching advice, will support successful lesson planning and classroom implementation for playwriting students at all levels, as well as individual study. Readers will also benefit from curation by editors who have experience with high-impact educational practices and are advocates for the use of varied teaching strategies to increase accessibility, inclusion, skill-building, and student success.

Embodied Playwriting offers a wealth of material for teachers and students of playwriting courses, as well as playwrights who look forward to experimenting with dynamic, embodied writing practices.

Embodied Playwriting: Improv and Acting Exercises for Writing and Devising is the first book to compile new and adapted exercises for teaching playwriting in the classroom, workshop, or studio through the lens of acting and improvisation.

The book provides access to the innovative practices developed by seasoned playwriting teachers from around the world who are also actors, improv performers, and theatre directors. Borrowing from the embodied art of acting and the inventive practice of improvisation, the exercises in this book will engage readers in performance-based methods that lead to the creation of fully imagined characters, dynamic relationships, and vivid drama. Step-by-step guidelines for exercises, as well as application and coaching advice, will support successful lesson planning and classroom implementation for playwriting students at all levels, as well as individual study. Readers will also benefit from curation by editors who have experience with high-impact educational practices and are advocates for the use of varied teaching strategies to increase accessibility, inclusion, skill-building, and student success.

Embodied Playwriting offers a wealth of material for teachers and students of playwriting courses, as well as playwrights who look forward to experimenting with dynamic, embodied writing practices.