The actor at work

Focusing on the underlying principles of the acting process, this volume continues to present an experiential sequence of exercises designed to help students develop a thorough understanding of the physical, vocal, analytical and ethical aspects of the actor's art. This accessible revision begins by concentrating on the preparation of body and voice in Part I. Part II then examines the concept of action, and Part III concludes by focusing on development of character in the rehearsal process.

Reviewer Praise for Benedetti's The Actor at Work

“As I have been going over this text again and again attempting to make some sort of meager offering to make it better, I have fallen in love with this text all over again.”
Rick D. Anderson, Kirkwood Community College

“I feel that Robert Benedetti's book is an excellent overview of all principles required for the beginning actor.”
William Gelber, Texas Tech University

“I have always considered Benedetti's textbook to be an excellent resource for any teacher of acting.”
Lori Horvik, North Dakota State University

“This is a book with the potential to transform the novice actor.”
Matt Tomlanovich, Southern Methodist University

“Benedetti's language is just sophisticated enough to make the subject matter feel important and yet it's not so complex or abstract that it becomes tiresome or overwhelming.”

“I think it is the best text on the market for non-majors that manages to be sophisticated enough for majors.”
Rebecca Hilliker, University of Wyoming

“Benedetti's exercises are challenging and fun, and don't ask more from the student than they are comfortable doing.”
Nancy Silva, American River College

“In my opinion The Actor at Work remains the best acting text on the market. Having examined numerous other acting texts, I continue to be amazed at the clarity, substance, and quality of Benedetti's text.”
George Sorensen, Texas Tech University

“The exercises are terrific and support the text very well. I am amazed at how quickly my students respond to the exercises and 'catch on' to the intent.”
William Hutson, Creighton University