Legendary voice instructor and creator of the Morrison Bone Prop, Annie Morrison, has put her modernising practice to paper, sharing her transformative process in The Moment of Speech: Creative Articulation for Actors.
In this exclusive interview, actress Joan Iyiola talks to Cherrelle Skeete, co-founder and Artistic Director of Blacktress UK, a network that supports Black womxn creatives by providing them with a community.
In this exclusive extract, Anne Bogart breaks down the art of ‘resonance’: defining what it is, highlighting why it matters, and explaining how the ‘global situation’ of 2020 spurred her into writing.
The Kali Theatre celebrates 30 years of producing art with 30 monologues and duologues written by South Asian women.
Dian Perry uses decades of experience to offer simple exercises for great narrators and voiceover artists.
A new series of practical guides to performing Shakespeare’s plays for actors, directors, teachers and students.
Read this Extract from Clown: The Physical Comedian, Introduction, The Word and The Look
Read this Extract from Voice Into Acting, Chapter One: The Organic Acting Approach and the Voice
Read this interview from the Actors’ and Performers’ Yearbook 2021 with David Mumeni on levelling the playing field for actors from working- and benefit- class backgrounds.
Read this extract from the introduction of Di and Viv and Rose by Elizabeth Kuti, from Methuen Drama’s Modern Classics series.
Read this monologue The Passport Thing by Iman Qureshi, taken from My White Best Friend, a collection of letters from some of the most exciting voices in the UK and beyond, edited by Rachel De-lahay.
Read extracts from Ann Yee’s conversation with Ayse Tashkiran, author of Movement Directors in Contemporary Theatre: Conversations on Craft
Read an extract from Rethinking the Actor’s Body: Dialogues with Neuroscience by Dick McCaw, published by Methuen Drama earlier this year.
We’ve put together a selection of recent hit plays that all include fantastic new monologues for actors. Many can be used by actors of any age or gender and others are more specific.
Read an extract from Screen Acting Skills by Roger Wooster and Paul Conway about how to work without other actors and develop skills for a screen career.
Methuen Drama attends Surviving Actors Conference 2020 featuring a special guest panel by Julie Hesmondhalgh, talking about life as an actor.
Read an extract from Bill Connington’s new book in Methuen Drama’s Acting Essential Series introducing actors to the Alexander Technique through practical study.
Actor Rob Ostlere offers essential advice from his book The Actor’s Career Bible for any actors launching their career.
Read an extract from Martin Constantine’s new book The Opera Singer’s Acting Toolkit which offers opera singers an essential guide to creating a role on stage.
Read about the Methuen Drama plays and authors performing at the 2019 Edinburgh Festival Fringe including Baby Reindeer by Richard Gadd.
Actor Rob Ostlere offers helpful advice from his new book The Actor’s Career Bible
Read sample exercises from Samantha Marsden’s new book 100 Acting Exercises for 8-18 year olds to inspire classroom and drama club participation.
Methuen Drama attend the Surviving Actors 2019 conference in London. Read about our day and seminar with Daniel Dresner.
As with most things in the acting world there is no ‘right way’ when it comes to putting a letter or email together. The following advice comes from interviews I’ve carried out with various actors, casting directors, agents and other industry experts; basic rules you can fall back on when in doubt, that will leave you something professional and effective.
For the last 2 weeks of June 2014, I was in Calgary working with Keith Johnstone (as his Literary Executor) preparing and packing his personal archive (or a portion of it) for shipment to Stanford University where The Keith Johnstone Papers will be permanently housed.
Film and stage are quite similar in that they both are looking for truthful behavior within imaginary circumstances, or to quote Stanislavski, “Actors must live privately in public” regardless of medium.