Advice to the Players

by Robert J. Lewis and Robert Lewis

Book Overview

"The best theatre book I read this year. The remarkable thing is its lack of bunk. Actors and watchers of actors will find it a book to mark up and read again."--Dan Sullivan, Los Angeles Times This description may be from another edition of this product.

• Format: Paperback
• Language: English
• ISBN: 1559360038
• Release Date: January 1993
• Publisher: Theatre Communications Group
• Length: 192 Pages
• Weight: 0.66 lbs.
• Dimensions: 8.2" x 0.4" x 5.3"

Customer Reviews

the joy of acting

Lewis has a much more theatrical approach to acting than some of his contemporaries (Strasberg, Meisner, etc). This was the first acting technique book I ever read. What struck me most was how much fun Lewis got out of the theatre and acting. It has a much different tone to it than a lot of acting books. He fills it with many funny and interesting anecdotes from his life in the theatre. His technique seems closely related to Stella Adler's. If you like this book you should check out his autobiography "Slings and Arrows". One of the founders of the Actors Studio, member of the Group Theatre, successful Broadway director, and Yale Drama School Professor (taught Meryl Streep). A fascinating man

Advice for the Serious Acting Student

The art of acting is ephemeral. Mr. Lewis states in his preface that one cannot "teach" acting any more than one can teach singing or dancing. If the talent and equipment exist, then a teacher may help the actor to hone his innate abilities. As one of Stanislavsky's heirs, Lewis has an eclectic approach to his advice. The book consists mostly of acting exercises he has gathered over a long career as actor and teacher and which he has found to be most helpful.The exercises are presented as transcriptions of actual classes--which they may be. The text includes what seems to be directives to named individuals "Ralph, take Rosemany by both her hands." This presentation choice has the effect of energizing the text with the immediateness that comes from speech. The reader receives a voyeuristic pull as though he were an outsider observing the class behind a two-way mirror. This style choice also relays a sense of Lewis as a teacher who is intelligent, generous and with a sense of humor.The exercises themselves are excellent. Lewis talks through an exercise so a reader could actually follow the directions. Then he explains why the exercise is important and how it helps an actor gain control over his instrument, that is his own physical, emotional and mental being.Lewis's approach is focused. The explanations are packed with detail. They are also practical. Lewis slips in helpful hints; for example, he tells how an actor simply by touching a physical object can dissipate a severe case of nervousness during performance. The tension leaves the actor's body and goes into the object.The exercises are organized into chapters that concentrate on technique areas that actors must master to improve their craft: relaxation, body work, concentration, sensory perception, intention. These are concepts well known to anyone who has taken acting classes. Lewis's contribution is that he presents these lessons with clarity and directness. I recommend this book to all serious acting students.