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How to Stop Acting, by Harold Guskin
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"The Great Guskin" (John Lahr, The New Yorker) shares the approach he uses to help actors land roles, develop them, and keep them alive
Harold Guskin is an "acting doctor" whose clients include Kevin Kline, Glenn Close, James Gandolfini, Bridget Fonda, and dozens more. In How to Stop Acting, Guskin reveals the insights and techniques that have worked wonders for beginners as well as stars. Instead of yet another "method," Guskin offers a strategy based on a radically simple and refreshing idea: that the actor's work is not to "create a character" but rather to be continually, personally responsive to the text, wherever his impulse takes him, from first read-through to final performance. From this credo derives an entirely new perspective on auditioning and the challenge of developing a role and keeping it fresh, even over hundreds of performances. Drawing on examples from his clients' work and his own, Guskin presents acting as a constantly evolving exploration rather than as a progression toward a fixed goal. He also offers sound and original advice on adapting to the particular demands of television and film, playing difficult emotional scenes, tackling the Shakespearean and other great roles, and more. His book will find an eager and appreciative audience among novices and established actors alike.
- Sales Rank: #57892 in Books
- Brand: Guskin, Harold
- Published on: 2003-06-25
- Released on: 2003-06-25
- Original language: English
- Number of items: 1
- Dimensions: 8.14" h x .62" w x 6.14" l, .43 pounds
- Binding: Paperback
- 208 pages
- Used Book in Good Condition
From Publishers Weekly
No, this isn't a guide to helping introverts learn how to loosen up and be themselves. Rather, it's a new perspective on auditioning for theater. "Acting doctor" Guskin, who's worked with Kline, Glenn Close, James Gandolfini, Steve Martin and others, explains his strategy, which, at its core, states that actors do not have a responsibility to create characters, but to be continually responsive to their lines, wherever their inclinations take them. It's an honest, non-gimmicky take on a perennial problem. With specific anecdotes (e.g., "Peter Fonda came to me in 1993, he wanted to rethink his acting") and concrete advice (e.g. "take it slow" and "let the script guide the research"), Guskin covers various acting scenarios, from the stage (including Shakespeare) to film and television. He imparts much wisdom, yet counsels, "discover what makes you tick as an actor. Use what works and discard whatever gets in the way, no matter how sound the concept."
Copyright 2003 Reed Business Information, Inc.
Review
“Ask an actor who the coach of the moment is and no matter whose name comes up as well, Guskin's is mentioned three times out of four.” ―The Village Voice
“Reading through these pages, I realize not only how much I learned from Harold, but also how safe he made me feel. The courage to take the risks that pushes us into new discoveries-new emotional territory-does not come without trust. Harold created a place filled with a trust that ultimately freed me to find my wings . . . one role at a time. This book will be invaluable for anyone passionate about learning the craft of acting and for those of us who need to be reminded of the basics of the craft we have dedicated our lives to.” ―Glenn Close
“Many actors, newcomers and veterans alike, often wonder why it's so difficult to be as real, natural, and emotionally charged on stage or in front of the camera as we are in our daily lives. Harold Guskin explains how, by habit and misconception, we tend to undermine our potential. How to Stop Acting is a clear and concise actor's guide to living the truth in our work.” ―Christopher Reeve
“Harold gives a very sane point of view to a very insane business and a very insane craft. Sometimes, when I read a script, I'm tempted to put on seven different wigs and change everything and do all this stuff-like knock my head against the wall twenty times before I know what I'm doing. Then I'll come to Harold, and I'll realize it's a lot simpler than that.” ―James Gandolfini
About the Author
Harold Guskin has worked with dozens of stage and screen actors and is himself an actor and director. He lives in New York City with his wife, the playwright and screenwriter Sandra Jennings.
Most helpful customer reviews
33 of 34 people found the following review helpful.
Best book on acting I've ever read!
By squidpool
I've read Strasberg, Adler, Meisner, Suzuki, Morris, Mamet, Chekov and several other acting books by lesser-known authors. Without question, Guskin's book is the best, most immediately usable method I have ever encountered. Guskin gives so many useful exercises to undertake his innovative approach along with a great deal of advice for solving a myriad of problems and issues actors face.
When I began reading Guskin's book I was intrigued but skeptical. The approach seemed like it just might be extraordinary, but I had questions as to whether it would work within certain contexts I faced as an actor. For example, what do I do when I'm in the middle of an audition and I freeze and nothing is coming to me? What good is Guskin's approach then? Much to my delight, Guskin addresses this question in a thorough and satisfying way. In fact, Guskin answered all of my practical acting questions and gives simple, usable solutions which all fall within the context of his unique acting approach.
Just like any acting approach, ultimate success comes with undertaking his advice and practicing, practicing, practicing his approach. Do this and you will reap great rewards.
My one slight reservation, which doesn't diminish the power of the book, is that casting directors for film and television often want you to come into an auditon situation with a 'final performance' for the audition. They do not want you to 'play' or 'discover' various versions of your performance during your audition. Casting directors for film and TV want you to give them the character as it is stated in the written character breakdown that they give you. Yes, this 'final performance' too, can be accomplished using Guskin's technique, but one needs to go into such audition situations very well-rehearsed beforehand.
Indeed, Guskin is correct in asserting that this very preconceived notion of character required by film and TV casting directors is far less prevalent in the theater and in theater auditions. This is not a caveat, just some additional info.
Truly the finest, most simple, practical and usable acting book I've ever read.
13 of 14 people found the following review helpful.
Just Get Real!
By Beth B
Harold Guskin's approach is brilliant in its simplicity. He takes you away from "techniques" and back to the reality of being in the moment. When I practice his approach I'm able to truly listen and dialogue with the other actors on a deeper level, and to respond to their words and mine from an internally, gut-motivated, truly living and experiencing in the moment place. From the stage or the audience the result is more exciting, more alive, and much more meaningful. I never have to try to memorize lines when I work from this angle either. The words take on a life of their own and take up residence, flowing freely when the time comes. The result is a fresher and more alive characterization too -- not "overstudied". Mr. Guskin's approach is refreshing. I urge every actor to buy this book, get real, and stop acting.
17 of 19 people found the following review helpful.
Even a beginner can benefit from this book.
By Andrew B. Hurvitz
After taking an acting class for the past two months, I have had various highs and lows both on stage and off. This book prepares you to accept those accidents of creativity and freedom that make good acting. The author is not exponent of any particular school of thought or ideology. Rather he uses his real world experience as an acting coach to such players as Kevin Kline, Matt Dillon, Bridget Fonda, Glenn Close and many others to show how vulnerability and "taking words off the page" rather than memorizing them will contribute to unexpected and startling performances.
His advice for conquering fear, relaxing and "going with the flow" is unconventional, but delightfully intelligent. The author speaks out on auditions, being on stage, and his biggest push is for actors to "be themselves" and let the words in the script speak for themselves. To stop acting, is to start being real, to finding the truth--and if I sound like I'm spouting gibberish, I assure that his writing is clear, concise, logical and well reasoned--and will lead to a deeper and more thoughtful understanding of acting.
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