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on 17 January 2007
I am a acting and voice teacher in a London drama school. I trained in Stanislavski about 25 years ago, worked as an actress till I stopped liking it and have been teaching and directing with great enthusiasm ever since. And ...(big confession).....I didn't get it till I worked with this book.

You see.......

You only need to play the actions. Just play actions. Any actions.

And preferably weird, wonderful wacky actions. Let your imagination run wild........and this little book will help you to do that, even when you have run out of steam, energy and ideas, even when you think that finding an action to play on this line is impossible and you've thought about it for hours and hours........hear come Maggie and Marina, riding over the brow of the hill like the cavalry, full of the most delicious, particular, cheeky, sparky, whimsical words. All playable. All there in your back pocket (if you've any sense)

I will never go to work without it.
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on 8 February 2009
As an Acting student at a leading UK drama school, this book has been essential to the approach to a piece of text. By following the guidance in this book, I've been able to unlock secrets of a scene with such little effort. Of course, this book is not to be taken as gospel and it certainly isn't helpful to rely on this book to do all of the work for you - but when you're struggling or just need to try something new, this book is there to help you out.

Please, please, please, do not sign off 'Actioning' for whatever reason you might have. This book will do wonders for you!
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on 15 June 2015
As a filmmaker trying my hand at directing I found this book to be a great help. I can communicate to the actors in a language they understand and help to quickly find a character's motivation with ease. When the scene begins to lose its pace I am able to reassess and correct it with a new action verb and change the way the scene plays out.

On set I am never more than a few feet away from this book and use it often in my early days as a filmmaker, it's almost like my safety net and I am glad to have been introduced to it.

For those struggling to communicate your ideas, I strongly recommend this book.
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on 15 November 2004
This book obviously took a huge amount of work, the editing alone I can see and must assume, had to have been a gargantuan undertaking. It is the perfect book of its kind, and a 'must have' for actors at all stages of their career, be they Garsides (unknown) or Gambons. My heart felt thanks to the authors for their efforts, and I hope it will bring me closer to my goals of treading the boards in better surroundings that the local amateur dramatics productions.
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on 24 August 2013
Well maybe grow up is the wrong term, but I wanted to read and have a copy of this book to help or support my directorial skills, as I'm just starting out. I believe that no book can turn people into a great director, but they might help people to understand new ways of going about their trade, which this one does very well. I believe that actioning a script beforehand will not only help me communicate my vision, but also for me to expand the possibilities of my vision.
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on 21 June 2009
The idea behind this book is a wonderful one for a lot of actors. Others will feel got at and resist it. It suggests an acting tool which if you firmly hold onto the idea that it IS a tool, ie at YOUR disposal, is a brilliant one. If you could write a 100% successful book about how to act there'd be no need for more. Of course, reassuringly there is no such thing; it'll always be down to the individual actor to 'do' the actual acting. Don't feel got at. Read it for inspiration. not as a judgement or a limitation.
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on 16 March 2016
A terrific book to introduce you not only to Actioning text as an actor but also to the origins of it and some sampling of techniques from teachers like Stanislavski and Meisner. This book articulates a technique that is pertinent to understanding text and the motivations behind communicating the emotion with the text. If you stumble with finding the right emotion or finding the correct word to explain a characters 'motivation' (explained in the book as what the character is 'Fighting For') this book is a great help and reference.
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on 29 March 2013
The book list verbs we can use to 'action' our scripts. Once you have chosen an objective, an actor needs verbs to action each sentence or working thought of the script. The book contains explanations and examples of how to do this and how to keep a script fresh
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on 22 October 2015
Bought it once. Read it once. Never used it for acting. Recently found my copy propping up a table though, so I suppose it has its uses. It's quite thin so for larger gaps I'd recommend something thicker by the same author.
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on 2 April 2015
Marina Caldarone belongs in a tradition of innovators that began with Stanislavski and includes Lee Strasberg and Joan Littlewood. The difference is that her system is not exclusive. It doesn't matter where actors trained or how they approach a part. I have found that a day of "actioning" during a three-week rehearsal period provides new energy and motivation and brings variety and colour to an actor's work. In an age which rightly stresses physicality Marina Caldarone recognizes the power of language to drive the actions that make a character live.
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