How should religion and ethics be studied if we want to understand what people believe and why they act the way they do? An energetic guide to the study of religion and ethics, rejecting theories from postmodernism and cognitive science in favour of a return to pragmatic enquiry.

A manual of common sense for actors and those that want to be."Thank you so much Mark for this fabulous book, I feel elated again and have ditched all the other stuff." JOHNATHON FARRELWhen you own Truth in Action, you'll:Learn to Develop the Mindset of the Truthful Actor, which means that no matter what skill level you're at, you'll see immediate improvements.Discover how to pull apart any script and grasp the actable parts of it, which means that no matter how good or bad the material is, you'll understand it and you'll have the know-how to translate it into action - the language of the actor.Understand how to connect with your scene partners, which means you'll create great on screen/stage chemistry with your fellow actors.Learn how to transform the ideas and instructions of the director into truthful action.Discover the secrets of truthful acting and how to put them into action, which means you'll create authentic, organic and sincere performances.

How should religion and ethics be studied if we want to understand what people believe and why they act the way they do? In the 1980s and '90s postmodernist worries about led to debates that turned on power, truth, and relativism. Since the turn of the century scholars impressed by 'cognitive science' have introduced concepts drawn from evolutionary biology, neurosciences, and linguistics in the attempt to provide 'naturalist' accounts of religion. Deploying concepts and arguments that have their roots in the pragmatism of C. S. Peirce, Believing and Acting argues that both approaches are misguided and largely unhelpful in answering the questions that matter: What did those people believe then? How does it relate to what these people want to do now? What is our evidence for our interpretations? Pragmatic inquiry into these questions recommends an approach that questions grand theories, advocates a critical pluralism about religion and ethics that defies disciplinary boundaries in the pursuit of the truth. Rationality, on a pragmatic approach, is about solving particular problems in medias res, thus there is no hard and fast line to be drawn between inquiry and advocacy; both are essential to negotiating day to day life. The upshot is an approach to religion and ethics in which inquiry looks much like the art history of Michael Baxandall and advocacy like the art criticism of Arthur Danto.

“A refreshing and enlightening new perspective on what it means to be powerful.”—Susan Cain, bestselling author of Quiet We all know what it looks like to use power badly. But how much do we really know about how to use power well? There is so much we get wrong about power: who has it, what it looks like, and the role it plays in our lives. Grounded in over two decades’ worth of scientific research and inspired by the popular class of the same name at Stanford’s Graduate School of Business, Acting with Power offers a new and eye-opening paradigm that overturns everything we thought we knew about the nature of power. Although we all feel powerless sometimes, we have more power than we tend to believe. Power exists in every relationship, not just at the top of big institutions. It isn’t merely a function of status or hierarchy, either. It’s about how much we are needed and how well we take care of other people. We often assume that power flows to those with the loudest voice or the most commanding presence. But, in fact, true power is often much quieter and more deferential than we realize. Moreover, it’s not just how much power we have but how we use it that determines how powerful we actually are. Actors aren’t the only ones who play roles for a living. We all make choices about how to use the power that comes with our given circumstances. We aren’t always cast in the roles we desire—or the ones we feel prepared to play. Some of us struggle to step up and be taken more seriously, while others have trouble standing back and ceding the spotlight. In Acting with Power, Deborah Gruenfeld shows how we can get more comfortable with power by adopting an actor’s mindset. Because power isn’t a personal attribute. It’s a part we play in someone else’s story.

A holistic approach to acting. This book presents acting as a mind, body and spirit practice and actors as emotional athletes, spiritual stuntmen and stuntwomen exposed to a constant roller coaster of emotions. Going beyond where Michael Chekhov left off, it offers new acting techniques using discoveries from holistic and energy healing modalities. Answering an urgent -yet never addressed-need, this book offers invaluable tools to heal post-performance stress disorder and cutting edge information about recovering your Highest Creative Self, the essence of your character, and true emotional balance. Lisa Dalton, Co-founder, International Michael Chekhov Association, Award-Winning Actor/Producer/Director and Co-founder and Certifying Board, National Michael Chekhov Association wrote the Foreword. She says: "It is rare to find a subject that urgently needs to be discussed and about which too little is written. The need to train the entire being of the performing artist is just such a subject. Emmanuelle Chaulet's A Balancing Act is a godsend to performing artists of any sort. Knowing how to Energize allows us to endure and even thrive during the rise and fall, the constant state of transformation, the juggling of feelings, styles, jobs, and colleagues while maintaining an even keel." "Truly some of the freshest and most innovative 21st century contributions to the art of acting." says Mel Shrawder NYC AEA/SAG actor, Former Head of Performance, University of Miami, and faculty at the Michael Chekhov Acting Studio in NYC.