Starred Library Journal Review for Will Power: How To Act Shakespeare in 21 Days
This morning I received a phone call from Michael Messina, my editor at Applause Books, saying that Will Power, the book I cowrote with John Basil on how to rehearse and act Shakespeare, is being given a starred review in the September 15, 2006 issue of Library Journal. This is a real coup for the book, because librarians truly respect the recommendations for what new books to acquire to round out their collections. (I know that for a fact because my super-smart sister Claire is a professional librarian.) A review like this translates into sales.
As I congratulated John when we connected later, I said, "It really is a thrill to walk into a library and see your book on a shelf, and to think of a huge number of people checking it out over the years to come. Once a book is in the library, it takes on a life of its own." John is excited because it's his first book being released (compared to my 14th) and so far we've been blessed.
Here is the body of the review:
*Basil, John with Stephanie Gunning. Will Power: How To Act Shakespeare in 21 Days. Applause. Oct. 2006. c.368p. illus. index. ISBN 1-55783-666-3. pap.$17.95. THEATER
Little is stranger to many actors than William Shakespeare. In his first book, actor, director, producer, and teacher Basil (cofounder, American Globe Theatre) offers a three-week course that demystifies the English playwright and prepares actors to play Shakespearean roles with confidence. Dividing his course into four phases, Basil uses Phase 1 (days one-eight) to teach the discovery and exploitation of such Shakespearean acting clues as capitalization, punctuation, parts of speech, and repetition. Phase 2 (days nine-12) advises actors to put aside scripts and investigate a text's emotional depths by physicalizing lines, defining unfamiliar words, and more. In Phase 3 (days 13-17), actors learn to add subtlety by varying pace, focus, and delivery; identify a character's psychological roles; and use humor. Phase 4 (days 18-21) applies Stanislavskian, or "method," techniques by teaching actors how to establish a character's circumstances and motivations. Day 22 sums up and reinforces. While assuming knowledge of basic acting techniques, Basil is reassuring and enthusiastic, and his practical instructions should benefit both students and working actors. An outstanding addition to a crowded field and an essential purchase for both academic and public theater collections.
--M.C. Duhig, Carnegie Lib. ofPittsburgh
John and I are almost ready to launch a special book website (www.willpowerthebook.com) that will incoporate FREE downloadable PDF giveaways for actors (tips on warming up, auditioning, and so forth) and for English teachers (lesson plans, classroom games, historical information, and much more). The finished book itself will be in local bookstores by the end of September 2006 and we'll be proudly promoting it in different venues across the country.
If you know any high school drama club participants or high school English teachers, please let them know about the book. And tell your friends who are emerging actors, too. Thank you, thank you.
As I congratulated John when we connected later, I said, "It really is a thrill to walk into a library and see your book on a shelf, and to think of a huge number of people checking it out over the years to come. Once a book is in the library, it takes on a life of its own." John is excited because it's his first book being released (compared to my 14th) and so far we've been blessed.
Here is the body of the review:
*Basil, John with Stephanie Gunning. Will Power: How To Act Shakespeare in 21 Days. Applause. Oct. 2006. c.368p. illus. index. ISBN 1-55783-666-3. pap.$17.95. THEATER
Little is stranger to many actors than William Shakespeare. In his first book, actor, director, producer, and teacher Basil (cofounder, American Globe Theatre) offers a three-week course that demystifies the English playwright and prepares actors to play Shakespearean roles with confidence. Dividing his course into four phases, Basil uses Phase 1 (days one-eight) to teach the discovery and exploitation of such Shakespearean acting clues as capitalization, punctuation, parts of speech, and repetition. Phase 2 (days nine-12) advises actors to put aside scripts and investigate a text's emotional depths by physicalizing lines, defining unfamiliar words, and more. In Phase 3 (days 13-17), actors learn to add subtlety by varying pace, focus, and delivery; identify a character's psychological roles; and use humor. Phase 4 (days 18-21) applies Stanislavskian, or "method," techniques by teaching actors how to establish a character's circumstances and motivations. Day 22 sums up and reinforces. While assuming knowledge of basic acting techniques, Basil is reassuring and enthusiastic, and his practical instructions should benefit both students and working actors. An outstanding addition to a crowded field and an essential purchase for both academic and public theater collections.
--M.C. Duhig, Carnegie Lib. ofPittsburgh
John and I are almost ready to launch a special book website (www.willpowerthebook.com) that will incoporate FREE downloadable PDF giveaways for actors (tips on warming up, auditioning, and so forth) and for English teachers (lesson plans, classroom games, historical information, and much more). The finished book itself will be in local bookstores by the end of September 2006 and we'll be proudly promoting it in different venues across the country.
If you know any high school drama club participants or high school English teachers, please let them know about the book. And tell your friends who are emerging actors, too. Thank you, thank you.
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