A collection of 125 acting exercises that are based on journal excerpts and dialogues from Mr. Morris' classes. These exercises teach the actor to systematically eliminate his or her instrumental obstacles — tensions, fears, inhibitions — and explore the "being" state, where the actor does no more and no less than what he or she feels.
A collection of 125 acting exercises that are based on journal excerpts and dialogues from Mr. Morris' classes. These exercises teach the actor to systematically eliminate his or her instrumental obstacles — tensions, fears, inhibitions — and explore the "being" state, where the actor does no more and no less than what he or she feels.
A collection of 125 acting exercises that are based on journal excerpts and dialogues from Mr. Morris' classes. These exercises teach the actor to systematically eliminate his or her instrumental obstacles -- tensions, fears, inhibitions -- and explore the "being" state, where the actor does no more and no less than what he or she feels.
As the title indicates, many of the techniques herein address the actor's need to avoid falling into the traps of concept and presentational acting. There is also a complete chapter on sense memory -- what it is, and how to practice it and apply it as an acting tool.
Co-authored by Joan Hotchkis, and with a Foreword by Jack Nicholson.
“"When I read No Acting Please, it put it all together for me.”
"If you want to be still and full, Eric teaches the stuff." -- Jack Nicholson
" -- Johnny Depp
Eric Morris, one of the most sought-after acting coaches in the country, has been teaching acting for 50 years. Also an actor, he has played more than a hundred roles on stage, on television and in films. His theater and home are in Los Angeles.
A collection of 125 acting exercises that are based on journal excerpts and dialogues from Mr. Morris' classes. These exercises teach the actor to systematically eliminate his or her instrumental obstacles -- tensions, fears, inhibitions -- and explore the "being" state, where the actor does no more and no less than what he or she feels.As the title indicates, many of the techniques herein address the actor's need to avoid falling into the traps of concept and presentational acting. There is also a complete chapter on sense memory -- what it is, and how to practice it and apply it as an acting tool.Co-authored by Joan Hotchkis, and with a Foreword by Jack Nicholson.
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