Taylor & Francis Ltd Paperback English
Zombies, Werewolves, Robots, and Extraterrestrials
Actor Training and the Performance of Non-Human Characters
By Gerald Large
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Zombies, Werewolves, Robots, and Extraterrestrials provides a broad survey of acting theory and training technique through the lens of the performance of non-human characters found in horror and science fiction film, television, and theatre. Specifically, the book examines the performance challenges of undead characters (zombies, vampires, Frankenstein’s monster), characters that transform from human to non-human (werewolves, human-flies, Dr. Jekyll/Mr. Hyde, and others), mechanical creatures (robots, androids, cyborgs) and extraterrestrials – and then suggests a wide array of training methods to meet each challenge. Theories and training methods are taken from Michael Chekhov, Vsevolod Meyerhold, Antonin Artaud, Jerzy Grotowski, German Expressionist dance, Tadashi Suzuki, Lev Kuleshov, Jacques Copeau and Jacques Lecoq, Bertolt Brecht, François Delsarte, and others. Each chapter includes numerous actor training exercises of each technique, journaling opportunities for self-reflection, and lists of films to watch and books to read to further one’s knowledge. This book is an excellent resource for actors, acting teachers, and both academic and professional directors with an interest in broadening their knowledge of actor training, and their skill base as both students and working professionals.
Zombies, Werewolves, Robots, and Extraterrestrials provides a broad survey of acting theory and training technique through the lens of the performance of non-human characters found in horror and science fiction film, television, and theatre. Specifically, the book examines the performance challenges of undead characters (zombies, vampires, Frankenstein’s monster), characters that transform from human to non-human (werewolves, human-flies, Dr. Jekyll/Mr. Hyde, and others), mechanical creatures (robots, androids, cyborgs) and extraterrestrials – and then suggests a wide array of training methods to meet each challenge. Theories and training methods are taken from Michael Chekhov, Vsevolod Meyerhold, Antonin Artaud, Jerzy Grotowski, German Expressionist dance, Tadashi Suzuki, Lev Kuleshov, Jacques Copeau and Jacques Lecoq, Bertolt Brecht, François Delsarte, and others. Each chapter includes numerous actor training exercises of each technique, journaling opportunities for self-reflection, and lists of films to watch and books to read to further one’s knowledge. This book is an excellent resource for actors, acting teachers, and both academic and professional directors with an interest in broadening their knowledge of actor training, and their skill base as both students and working professionals.