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Separate chapters deal with Improvisation (far more useful than Keith Johnston's earnest books), Shakespeare (a call for the improtance of verse to be stressed), mask and chorus work, and realistic theatre a la Stanislavsky.
Although I found the chapter on mask work irritating (a matter of personal prejudice) it was still interesting. The authors recognise that different works require different skills and styles of acting, and provide useful exercises for each.
Unlike many of these sorts of books (one thinks of Boal) there is no deadly political thought behind this work. The authors set out to provide workshop leaders with exercises that will entertain and inspire people to inspire others.
If I have one negative criticism, it is that some of the writing seems aimed at the experienced workshop facilitator. This was slightly off putting in a book aimed at all levels of experience.
This minor criticism aside, I would recommend this book to anyone who wishes to revive or inspire a group's interest in theatre. The comments I received from participants after I used this book for a workshop were the most positive I have heard for a long time.
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