Reading a book on directing won't turn you into Francis Ford Coppola, just as watching her entire portfolio of films won't turn you in Meryl Streep. However, good reading is an invaluable aide to support good talent and the recommendations below are more than worth a read.
Great Moments in the Theatre by Benedict Nightingale
I haven't finished reading this book. In fact, I've got a good 70 pages to go but that doesn't matter; Benedict Nightingale is not only the most engaging, charming, and casually intelligent critic I've had the pleasure of reading but, indeed, one of the most fluid and charismatic writers out there. His whirlwind tour of memorable moments is not limited to his direct experience but re-constructs in a most concise (2-3 pages) and wholly convincing manner performances of The Oresteia in Athens in 458 BC, triumphs of great actors in the role of Macbeth from both in 1601to 1980, and fills in all the dots in terms of critical reception, socio-political context, and the lives of authors. It would have been a wonderful reference point back when I sat my Finals, even as a non-theatre student. There were two aspects of the book beyond its richness which did surprise me: firstly, the willingness of the author to admit his original reviews of plays have, on occasion, been misguided, and to allow time and experience to rectify his opinion; secondly, 'great moments' are not reserved for triumphs but also for memorable disasters - see his review of Twang!!.
Eminently readable, witty, and utterly charming, this book is a must-read for anyone with even just a casual interest in theatre history.
Improvisation is terrifying. That's what people assume; the lack of direction, the inability to prepare, the crushing expectation to be, god forbid, funny, it's impossible. That's what I thought until I read this book. Full of strategies and insightful comments, it gives you a theoretical understanding of the art which makes it possible to approach the whimper-inducing notion of impro with perfect equanimity. I don't agree with all his comments on the nature of acting or of the actor but that is by-the-by. The simple fact is that even before trying my hand at impro again I came away feeling confident. And confidence in impro is key.
True and False: Heresy and Common Sense for the Actor by David Mamet
I tried snapping my fingers whilst reading this; I wanted to summon David Mamet to my side, genie-like, to grant my wish for an argument. I disagreed with him on so many levels, was inspired on several more, and ultimately have to praise him for producing the most inspiring essay - in the Montaigne-esque sense of the word - on acting that I have read to date. It comes across as a rumination on the subject in which Mamet tries to isolate and understand his own stances on aspects of the subject. What this means for the open-minded reader is that they are provoked, teased, and encouraged to identify their own beliefs and approached. If they disagree, they are encouraged to ask why. It's not passive reading, but it is essential reading.
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