cohen acting

The Lee Strasberg Notes reproduces the original teachings of a unique voice in actor training, for the very first time. It is a stunning document in the history and ongoing practice of Strasberg’s Method.

Compiled and edited by Lola Cohen, the book is based on unpublished transcripts of Strasberg’s own classes on acting, directing and Shakespeare. It recreates his theoretical approach, as well as the practical exercises used by his students, and brilliantly conveys his approach and personality.

The book features Strasberg’s teachings on:

• Training and exercises

• Characters and scenes

• Directing and the Method

• Shakespeare and Stanislavski

• The theater, acting and actors.

Including a Preface by Anna Strasberg and a Foreword by Martin Sheen, this illuminating book brings the reader closer to Strasberg’s own methods than any other, making it a phenomenal resource for students, actors, and directors.

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In drama classes and at auditions, young actors have continually had to resort to performing roles written for much older men and women — roles that are often difficult for them to identify with or to fully understand. But this innovative scenebook gives younger performers the opportunity to portray characters their own age.

From the classics to the finest in contemporary drama — from Shakespeare, Shaw, and Chekov to Miller, Williams, and Kopit — here are sparkling theatrical gems that are perfect for class or theater group study and performance. Complete with thorough character and plot descriptions, Scenes for Young Actors is an absolute must for the talented young beginner and professional alike.

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Acting in Shakespeare helps actors at all levels develop the skills they need to perform in Shakespearean plays. Lessons proceed in carefully graduated steps from simple, single lines to short speeches to more difficult, sophisticated scenes. A wealth of historical information and insightful descriptions of Shakespearean times and players bring Shakespeare’s work within the actor’s reach.

• Abundant exercises build gradually in difficulty, giving student actors confidence that they can act in Shakespeare. Exercises are appropriate not only for use in the classroom but also for independent study.

• Actors often find Shakespearean language and customs unusual and intimidating. Acting in Shakespeare relates Shakespearean acting to real-life, contemporary situations and common acting theory, helping actors realize that performing Shakespeare is well within their grasp.

“Acting in Shakespeare is difficult. . . . His verse is not the language of our everyday American speech; the costumes in which he visualized his characters are not the clothing of everyday American life. Playing Shakespeare may mean living in a very different world from the one we normally inhabit.” Robert Cohen, from the Preface

” By book’s end, students can reasonably be expected to be comfortable and confident with Shakespeare’s demands. . . . [His] chapter on physicalizing Shakespeare contains a number of stimulating exercises (Cohen’s strength as an acting teacher). . . . Cohen helps students apply his lessons: I can’t imagine a group of students not being enthralled by Cohen’s ingenious concept. . . . Acting in Shakespeare is so readily accessible and full of such “do-able” exercises that it should be a staple of period style classes for years to come.” theatre journal

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