Does acting matter? David Thomson, one of our most respected and insightful writers on movies and theater, answers this question with intelligence and wit. In this fresh and thought-provoking essay, Thomson tackles this most elusive of subjects, examining the allure of the performing arts for both the artist and the audience member while addressing the paradoxes inherent in acting itself. He reflects on the casting process, on stage versus film acting, and on the cult of celebrity. The art and considerable craft of such gifted artists as Meryl Streep, Laurence Olivier, Vivien Leigh, Marlon Brando, Daniel Day-Lewis, and others are scrupulously appraised here, as are notions of “good” and “bad” acting. Thomson’s exploration is at once a meditation on and a celebration of a unique and much beloved, often misunderstood, and occasionally derided art form. He argues that acting not only “matters” but is essential and inescapable, as well as dangerous, chronic, transformative, and exhilarating, be it on the theatrical stage, on the movie screen, or as part of our everyday lives.

An invaluable resource for anyone wanting his or her acting to matter, this groundbreaking guide defies most modern acting methods by rejecting emotion as an acting tool. With the advice in this book, actors will see beyond the prevailing "objective-obstacle" approach and look primarily to the text the playwright provides. Actors learn how to dissect a text for key words and phrases, as well as how to score a script, find proper tempo and rhythm, modulate volume and intensity, use theatrical stillness effectively, find beat actions, listen to their acting partners, and much more. Expert tips are also provided for auditioning, cold reading, and taking direction.

Examines the allure of acting for both the artist and the audience member while addressing the paradoxes inherent in acting itself.

“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.

Modern culture’s worship of “how-to” pragmatism has turned us into instruments of efficiency and commerce—but we’re doing more and more about things that mean less and less. We constantly ask “how? and still struggle to find purpose and act on what matters. Instead of acting on what we know to be of importance, we wait for bosses to change, we seek the latest fad, we invest in one more degree. Asking how keeps us safe—instead of being led by our hearts into uncharted territory, we keep our heads down and stick to the rules. But we are gaining the world and losing our souls. Peter Block puts the “how-to” craze in perspective and presents a guide to the difficult and life-granting journey of bringing what we know is of personal value into an indifferent or even hostile corporate and cultural landscape. He raises our awareness of the trade-offs we’ve made in the name of practicality and expediency, and offers hope for a way of life in which we’re motivated not by what “works,” but by the things that truly matter in life—idealism, intimacy, depth and engagement.

City and regional planners talk constantly about the things of the world—from highway interchanges and retention ponds to zoning documents and conference rooms—yet most seem to have a poor understanding of the materiality of the world in which they’re immersed. Too often planners treat built forms, weather patterns, plants, animals, or regulatory technologies as passively awaiting commands rather than actively involved in the workings of cities and regions. In the ambitious and provocative Planning Matter, Robert A. Beauregard sets out to offer a new materialist perspective on planning practice that reveals the many ways in which the nonhuman things of the world mediate what planners say and do. Drawing on actor-network theory and science and technology studies, Beauregard lays out a framework that acknowledges the inevitable insufficiency of our representations of reality while also engaging more holistically with the world in all of its diversity—including human and nonhuman actors alike.

National Book Critics Circle Award Winner, Nonfiction NAMED ONE OF THE BEST BOOKS OF 2022 BY THE NEW YORKER, TIME MAGAZINE, SAN FRANCISCO CHRONICLE, VOX, SALON, LIT HUB, AND VANITY FAIR “Entertaining and illuminating.”--The New Yorker * “Compulsively readable.”--New York Times * “Delicious, humane, probing.”--Vulture * “The best and most important book about acting I've ever read.”--Nathan Lane The critically acclaimed cultural history of Method acting-an ebullient account of creative discovery and the birth of classic Hollywood. On stage and screen, we know a great performance when we see it. But how do actors draw from their bodies and minds to turn their selves into art? What is the craft of being an authentic fake? More than a century ago, amid tsarist Russia's crushing repression, one of the most talented actors ever, Konstantin Stanislavski, asked these very questions, reached deep into himself, and emerged with an answer. How his “system” remade itself into the Method and forever transformed American theater and film is an unlikely saga that has never before been fully told. Now, critic and theater director Isaac Butler chronicles the history of the Method in a narrative that transports readers from Moscow to New York to Los Angeles, from The Seagull to A Streetcar Named Desire to Raging Bull. He traces how a cohort of American mavericks--including Stella Adler, Lee Strasberg, and the storied Group Theatre--refashioned Stanislavski's ideas for a Depression-plagued nation that had yet to find its place as an artistic powerhouse. The Group's feuds and rivalries would, in turn, shape generations of actors who enabled Hollywood to become the global dream-factory it is today. Some of these performers the Method would uplift; others, it would destroy. Long after its midcentury heyday, the Method lives on as one of the most influential--and misunderstood--ideas in American culture. Studded with marquee names--from Marlon Brando, Marilyn Monroe, and Elia Kazan, to James Baldwin, Ellen Burstyn, and Dustin Hoffman--The Method is a spirited history of ideas and a must-read for any fan of Broadway or American film.