Eric believes that this book is the "craft bible," since it focuses entirely on the craft an actor must acquire in order to fulfill dramatic material. The book explores the seven major obligations related to material--time and place, relationship, emotional, character, thematic, historical, and subtextual--and from there goes on to define choices and explain how to use them to fulfill those obligations. The third element of the craft, the choice approaches, is the practical work the actor must do to create the choices. Out of the current thirty-one choice approaches, only twenty-two are explored in this book. The remaining nine are investigated in subsequent books.

Acting from the Ultimate Consciousness is Eric Morris's fourth popular book on the art of acting. His previous works have established him among the foremost innovators in the world of drama. His system, based on the Stanislavsky method but going far beyond it, begins with an exploration of consciousness and the instrumental needs of the actor and expands to dozens of practical techniques that enable the actor to utilize the full range of his talent. With complete sections on characterization, rehearsing and ensemble, this is a book that all stage or screen actors--beginning to advanced--should read, absorb and practice.

A collection of 125 acting exercises that are based on journal excerpts and dialogues from Mr. Morris' classes. These exercises teach the actor to systematically eliminate his or her instrumental obstacles -- tensions, fears, inhibitions -- and explore the "being" state, where the actor does no more and no less than what he or she feels. As the title indicates, many of the techniques herein address the actor's need to avoid falling into the traps of concept and presentational acting. There is also a complete chapter on sense memory -- what it is, and how to practice it and apply it as an acting tool. Co-authored by Joan Hotchkis, and with a Foreword by Jack Nicholson.

Acting, Imaging, and the Unconscious is the fifth in a series of books written by Eric Morris on his unique system of acting. In this book the emphasis is on imaging as an acting tool to fulfill dramatic material. The work begins with an exploration of the various uses of imaging and goes on to delineate very specific techniques and approaches on how to image, when to image and why. Involved in this process are dreams and dreaming, as well as subpersonalities, which all serve to access and communicate with the unconscious, where ninety-five per cent of an actor's talent lives. Also explored is a process of programming the unconscious to liberate the images that lie at the core of an actor's experience and talent, thus releasing the exciting wellsprings of creativity in the roles an actor plays. With complete examples taken from classical and contemporary plays and films, this book enters territories that had never before been tread upon, thus taking the art of acting into a totally new dimension.

Imagine what your theatrical life would be like if you could walk into any audition room and find authentic freedom! Freedom to be human, freedom to be happy, freedom to be brilliant and freedom to be nothing but fantastically you? This inspiring not-like-any-other-audition-book by Broadway's top coach will crack your brain open with long lasting shifts that will keep you creating and enjoying powerful experiences "in the room."

One of our most brilliantly iconoclastic playwrights takes on the art of profession of acting with these words: invent nothing, deny nothing, speak up, stand up, stay out of school. Acting schools, “interpretation,” “sense memory,” “The Method”—David Mamet takes a jackhammer to the idols of contemporary acting, while revealing the true heroism and nobility of the craft. He shows actors how to undertake auditions and rehearsals, deal with agents and directors, engage audiences, and stay faithful to the script, while rejecting the temptations that seduce so many of their colleagues. Bracing in its clarity, exhilarating in its common sense, True and False is as shocking as it is practical, as witty as it is instructive, and as irreverent as it is inspiring.