Abstract
Every night thousands of actors step on stage before an audience. Every year an even greater number sign up for acting classes at private studios, art schools, universities, and colleges. All hope to thrill an audience and, not insignificantly, put food on the table. From each teacher or colleague they seek techniques that will make their work more powerful and striking to spectators, directors, and casting agents. Wherever theatre books are sold, the shelves are chockablock full of texts touting the latest fashion in acting, promising readers that the secrets to a successful career can be found in their pages. In the United States, most strive to make it on Broadway or in regional theatres, some are happy to work Off-Broadway or Off-Off-Broadway, and then there are those who eschew the traditional and dedicate their talents to avant-garde or community-based performances. There are two things they all have in common, regardless of origin, talent, drive, and personal contacts: they are alive and have bodies.
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