The Integrated Actor
Imagination, Body, Breath, Voice
1st Edition
Published on 30. April 2026
256 pages
978-1-350-44135-4 (ISBN)
Description
Combining work on physical and vocal embodiment with exercises in imagination and interpretation, this book facilitates a fuller, freer and more complete use of the self when it comes to creating a role.
Building on established methodologies and existing research, such as the Alexander Technique, Estill Voice Craft, polyvagal theory and works by major practitioners - including Michael Langham, Niamh Dowling, Glen Park, Carolyn Serota, Sally Grace, Patsy Rodenburg, Cicely Berry, Kristin Linklater and Josephine Estill - this book offers a holistic approach to voice work and acting.
Building on established methodologies and existing research, such as the Alexander Technique, Estill Voice Craft, polyvagal theory and works by major practitioners - including Michael Langham, Niamh Dowling, Glen Park, Carolyn Serota, Sally Grace, Patsy Rodenburg, Cicely Berry, Kristin Linklater and Josephine Estill - this book offers a holistic approach to voice work and acting.
More details
Edition
1. Auflage
Language
English
Place of publication
London
United Kingdom
Publishing group
Bloomsbury Publishing PLC
Target group
College/higher education
Illustrations
3 bw illus
ISBN-13
978-1-350-44135-4 (9781350441354)
Copyright in bibliographic data and cover images is held by Nielsen Book Services Limited or by the publishers or by their respective licensors: all rights reserved.
Schweitzer Classification
Other editions
Additional editions
Book
04/2026
Methuen Drama
€29.00
Shipment within 15-20 days
Person
Alex Taylor teaches at the Royal Birmingham Conservatoire (Acting). Previously, he was Head of Voice at Rose Bruford, UK; Director of the School of Theatre at Manchester Metropolitan University, UK; one of the Master Teachers at the Juilliard School, US; and Head of Voice and Movement at the Hong Kong Academy for Performing Arts. He has directed productions for the National Theatre of Korea and the Hong Kong Academy for Performing Arts, and led masterclasses in acting and voice at the Shanghai Theatre Academy and the University of Korea. He has also worked at the RSC as a voice coach on a number of productions.
Content
Foreword
How to Use this Book
Introduction
Chapter 1 - Some Science
Chapter 2 - A Discussion About Truth
Chapter 3 - Imagination, Imagination, Imagination
Chapter 4 - Breath 1
Chapter 5 - Habitual Use - Old Habits, New Habits
Chapter 6 - Alignment and the Larynx
Chapter 7 - Working in Semi-Supine - Floor Work 1
Chapter 8 - The Concept of Centre - A Physical Centre
Chapter 9 - Pitch
Chapter 10 - Language and Text 1
Chapter 11 - Working in Semi-Supine - Floor Work
Chapter 12 - More About Breath - Breath Capacity
Chapter 13 - Language and Text 2 - Phrasing and Meaning
Chapter 14 - Semi-Supine - Floor Work 3 - Whispered 'Ah'
Chapter 15 - Free the Body to Free the Voice
Chapter 16 - Support
Chapter 17 - Resonance
Chapter 18 - Range, Pitch, Stress
Chapter 19 - The Channel for Sound
Chapter 20 - Language and Text 3
Chapter 21 - Language and Text 4 - Shakespeare
Chapter 22 - Other Aspects of Iambic Pentameter
Chapter 23 - Language and Text 5 - Shakespeare Sonnets
Chapter 24 - Punctuation
Chapter 25 - Integration: Imagination, Body, Breath, Voice
Chapter 26 - Working with Energy - Character Exercise
Conclusion
Bibliography
Index
How to Use this Book
Introduction
Chapter 1 - Some Science
Chapter 2 - A Discussion About Truth
Chapter 3 - Imagination, Imagination, Imagination
Chapter 4 - Breath 1
Chapter 5 - Habitual Use - Old Habits, New Habits
Chapter 6 - Alignment and the Larynx
Chapter 7 - Working in Semi-Supine - Floor Work 1
Chapter 8 - The Concept of Centre - A Physical Centre
Chapter 9 - Pitch
Chapter 10 - Language and Text 1
Chapter 11 - Working in Semi-Supine - Floor Work
Chapter 12 - More About Breath - Breath Capacity
Chapter 13 - Language and Text 2 - Phrasing and Meaning
Chapter 14 - Semi-Supine - Floor Work 3 - Whispered 'Ah'
Chapter 15 - Free the Body to Free the Voice
Chapter 16 - Support
Chapter 17 - Resonance
Chapter 18 - Range, Pitch, Stress
Chapter 19 - The Channel for Sound
Chapter 20 - Language and Text 3
Chapter 21 - Language and Text 4 - Shakespeare
Chapter 22 - Other Aspects of Iambic Pentameter
Chapter 23 - Language and Text 5 - Shakespeare Sonnets
Chapter 24 - Punctuation
Chapter 25 - Integration: Imagination, Body, Breath, Voice
Chapter 26 - Working with Energy - Character Exercise
Conclusion
Bibliography
Index
