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'Francis Greenslade has been an actor for thirty years. Here he tells the story of how as an enthusiastic but formally untrained actor he learnt to manage the demands of text and character and emotional connection with the character. Along with how to stand on your mark, and read a call sheet, and deal with directors.
'Half acting manual, half entertaining tale of the world of professional acting in Australia, this is a book for all actors, whether amateur or professional, novice or veteran, and indeed anyone who has ever wondered what it is that actors actually do.'
(Source: publisher's blurb)
Publication Details of Only Known VersionEarliest 2 Known Versions of
Works about this Work
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[Review] How I Learnt to Act on the Way to Not Going to Drama School
2020
single work
review
— Appears in: Australasian Drama Studies , October no. 77 2020; (p. 347-351)
— Review of How I Learnt to Act 2019 single work autobiography'At a time when private studios proliferate and conservatoire-style schools are under pressure from universities to increase their class sizes, decrease their contact hours and become more aligned with academic models, it is useful to be reminded of the benefits of the apprenticeship model of actor training. What becomes apparent through Greenslade's book is how this on-the-job training involves a certain amount of trial and error, and requires self-discipline in order to reflect usefully on prior learning. Conservatoire training clearly offers key skills in script analysis, approaches to creating character and highly specific body and voice training.' (Publication abstract)
-
[Review] How I Learnt to Act on the Way to Not Going to Drama School
2020
single work
review
— Appears in: Australasian Drama Studies , October no. 77 2020; (p. 347-351)
— Review of How I Learnt to Act 2019 single work autobiography'At a time when private studios proliferate and conservatoire-style schools are under pressure from universities to increase their class sizes, decrease their contact hours and become more aligned with academic models, it is useful to be reminded of the benefits of the apprenticeship model of actor training. What becomes apparent through Greenslade's book is how this on-the-job training involves a certain amount of trial and error, and requires self-discipline in order to reflect usefully on prior learning. Conservatoire training clearly offers key skills in script analysis, approaches to creating character and highly specific body and voice training.' (Publication abstract)
