The Power of the Actor, a Los Angeles Times bestseller, premier acting teacher and coach Ivana Chubbuck reveals her cutting-edge technique, which has launched some of the most successful acting careers in Hollywood.

The first book from the instructor who has taught Charlize Theron, Brad Pitt, Elisabeth Shue, Djimon Hounsou, and Halle Berry, The Power of the Actor guides you to dynamic and effective results. For many of today’s major talents, the Chubbuck Technique is the leading edge of acting for the twenty-first century. Ivana Chubbuck has developed a curriculum that takes the theories of the acting masters, such as Stanislavski, Meisner, and Hagen, to the next step by utilizing inner pain and emotions, not as an end in itself, but rather as a way to drive and win a goal.

In addition to the powerful twelve-step process, the book takes well-known scripts, both classic and contemporary, and demonstrates how to precisely apply Chubbuck’s script-analysis process. The Power of the Actor is filled with fascinating and inspiring behind-the-scenes accounts of how noted actors have mastered their craft and have accomplished success in such a difficult and competitive field.

With an introduction by Sydney Pollack, director of Out of Africa and Tootsie, who worked with Meisner for five years.

“This book should be read by anyone who wants to act or even appreciate what acting involves. Like Meisner’s way of teaching, it is the straight goods.”—Arthur Miller

“If there is a key to good acting, this one is it, above all others. Actors, young and not so young, will find inspiration and excitement in this book.”—Gregory Peck

Sanford Meisner was one of the best known and beloved teachers of acting in the country. This book follows one of his acting classes for fifteen months, beginning with the most rudimentary exercises and ending with affecting and polished scenes from contemporary American plays. Written in collaboration with Dennis Longwell, it is essential reading for beginning and professional actors alike. Throughout these pages Meisner is a delight—always empathizing with his students and urging them onward, provoking emotion, laughter, and growing technical mastery from his charges.

With an introduction by Sydney Pollack, director of Out of Africa and Tootsie, who worked with Meisner for five years.

“This book should be read by anyone who wants to act or even appreciate what acting involves. Like Meisner’s way of teaching, it is the straight goods.”—Arthur Miller

“If there is a key to good acting, this one is it, above all others. Actors, young and not so young, will find inspiration and excitement in this book.”—Gregory Peck

Log Book for Actors and Actresses. Simplified version asking you only to record the essentials of the acting jobs you book.

Stop spending hours filling out every minutia of a job with other logbooks when most Actors keep call sheets, and copies of contracts via email. When you need to quickly access essential job information, this is the logbook for you, information at your fingertips.

• Fill out in 5 minutes.
• Record the date range after you fill out the log completely.
• Try a different logbook look for your next 50 jobs.
• Great gift for Actors.
• Awesome tool to gift new acting students taking your class.
• Small enough to keep with your Headshots or at your desk for quick access.

Description: Matte (Write on the Cover); Oscar Gold

The Brief, is a notebook for Actors taking a class, reading a book, attending a seminar, or listening to an audiobook. Instead of underlining, or bookmarking, use this notebook to write down key information you do not want to forget, and have quick access to without scrolling through an entire book.

Create your own Cliff-notes type summary. Meisner, Stanislavski, Checkov, Lee Strasberg, Margie Habor, Ivana Chubbuck, are just a few examples of Acting teachers whose techniques are widely taught in books and classes.

Acting classes can be a substantial investment.

• Reinforce and protect your investment by keeping notes on the things you found most valuable.
• Using a dedicated notebook that you can access quickly helps.
• No more losing vital class notes because you bundled them in a notebook with other subjects.
• Portable. Keep in your purse or backpack for a quick refresher while in the audition waiting room.
• Softcover. Fold it, roll it, make it fit into your life.

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.

From the Author

The Actor’s Guide to Understanding How Your Face Communicates Emotion for TV and Film. A Revised and Expanded2nd Edition of this book is now available. There should be a link somewhere on the page.

The first edition was powerful, and some said groundbreaking and I wanted to make sure I kept all of what made it such a success. It’s all still there:

• The science behind why only a small percentage of on-camera actors get the majority of the work, what those actors do differently than the rest, and what you can do to level the playing field.
• Why acting is an art of deception and why deception is the key to truthful acting.
• Why your facial messages may not be expressed the way you intend and how it may be costing you more than the job.

A step-by-step process for tailoring your work to the camera’s perspective.

How impulse is your most powerful tool and how to use it with precision.

What science tells us about the nature of identity and how to make psycho-physical transformations into compelling characters completely unlike yourself.

How to stop micro-expressing nervousness on camera.

How the camera reads the stakes of the scene through the indentation between your collarbone and surrounding muscle tissue.

What the camera sees on your face when you are trying to remember a line.

Simple, science-based exercises devised for Olympic athletes and adapted for actors to reach peak performance under pressure.

Learn why Stanislavski abandoned the Method in favor of a non-analytical approach.