Articles

Articles
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See How Easily You Can Track Your Character’s Emotional Arc in a Scene
By JEANE CAVELOS. Helping Writers Become Authors: January 9, 2015
In my research last spring, I came across a fascinating guide called Book on Acting. The title arises from the author’s name, Stephen Book. He’s a famous acting teacher. Book directs actors to consider how their characters’ emotions develop over a scene. He calls this the character’s emotional arc. I quickly realized this was great advice for writers too.
[Access the article here.]
Choosing An Acting Class, Part Three
By STEPHEN BOOK. Actor’s Ink: January 27, 2010
Once you have decided to try out a class stay alert to signs that this class is worth your time and money. You can try out a class either through observing it as an auditor, or if auditing is not allowed, by signing up and participating. Here are suggestions as to what signs are important to notice.
[Access the Actor’s Ink E-Magazine Article here.]
Choosing An Acting Class, Part Two
By STEPHEN BOOK. Actor’s Ink: January 20, 2010
In the last article I wrote about the difference between traditional scene study classes and classes that emphasize more experiential training. Whatever kind of class you are considering you should evaluate how critiques are handled.
[Access the Actor’s Ink E-Magazine Article here.]
Choosing An Acting Class, Part One
By STEPHEN BOOK. Actor’s Ink: January 13, 2010
Are you considering a new acting class? Are you happy with the one you are in? Is it serving your needs? You know that in the past you have not liked certain classes and liked others and you usually know why, but have you ever considered what might be best or the most effective for you?
[Access the Actor’s Ink E-Magazine Article here.]
Stephen Book Remembers George Carlin
By STEPHEN BOOK. George Carlin’s long time acting coach speaks at his memorial: June 29, 2008
In 1985, George decided he wanted to do films and felt it was time to become as good an actor as he was a comic. He joined my acting class and for two years attended every Tuesday night. I also became his private coach for the next fifteen years helping him prepare his movie roles.
[Access the PDF File here.]
Book Reviews  
By PAUL HABER. Back Stage West: March 29, 2007
“Interviewing doesn’t come naturally to many actors. We want the job, we want to impress or please our auditor or interviewer – and it’s this very mindset that prevents us from either booking the job or being remembered favorably when the next one comes along. Why are we so self-conscious when meeting a new agent? Why do we blow a callback by trying to ingratiat ourselves with the director? STEPHEN BOOK’s The Actor Takes a Meeting addresses these questions head-on…”
[Access the PDF File here.]
The Business of Acting  
By STEPHEN BOOK. Back Stage West: Jan 11, 2007
“I have an interview tomorrow with an agent I would love to sign with, and I’m so nervous. I never do well in these interviews. Help!” Or, “Four months ago I had a general meeting with a top casting director, and I thought it went well, but she has never called me in for an audition. What am I doing wrong?”
[Access the PDF File here.]
By The Book 
By JEAN SCHIFFMAN. Back Stage West: Feb 6, 2003
L.A. teacher STEPHEN BOOK’s Improvisation Technique challenges accepted Method acting assumptions. I don’t know if I’d want to call Los Angeles teacher Stephen Book’s approach to acting revolutionary, but, in adapting improvisation exercises to script work, he challenges some of the received wisdom of modern American training and offers a practical method to infuse your performance with spontaneity.
[Access the PDF File here.]
Book Chat 
By JEAN SCHIFFMAN. Back Stage West: Feb 20, 2003
The second part of a discussion of STEPHEN BOOK’s Non-Method method. In the last “Craft,” we discussed some of the acting techniques taught by STEPHEN BOOK, a Los Angeles, teacher who runs workshops for professional actors who want to learn how to infuse their work with spontaneity.
[Access the PDF File here.]
You Say You Want a Revelation 
By LAURA WEINERT. Back Stage West: March 22, 2001
Having a breakthrough in acting class is a moment you’ll never forget – and never expect.
[Access the PDF File here.]
Cry If You Want To 
By KIMBERLY LEWIS. Back Stage West: Nov 14, 1996
Picture this scenario: Your agent calls and says, “Hey kid, I got an audition for ya.” (About time, you think.) “You’re a shoo-in. They’re not just looking for your type – they’re looking for your exact height, weight, and astrological sign. Believe me, kid. This one’s in the bag!” Then the other shoe falls. “By the way – You can cry on cue, can’t you?”
[Access the PDF File here.]
Playing Tag for Better Communication
By BARBARA DELATINER. New York Times: Nov 28, 1976
“Theater games energize both the teacher and the students so that the classroom experience comes at a time when learning can take place at the highest level,” said Stephen Book, the executive director of the Spolin Theater Games Center in Los Angeles.
[Access the PDF File here.]
Workshop Aids Communication Skills 
By SUSAN LINDBERG. Illinois State University Vidette: Sept 16, 1976
“Space Walk,” “Follow the Follower,” and “Explosion Tag.” Sound like kids games. They are, but they were also a part of a Theare Games Workshop which was conducted for students and teachers in CVA Gallery I and 301 Centennial West Monday and Tuesday evenings.
[Access the PDF File here.]
Improvisationist Stephen Book 
By GAYLE THOMAS. Michigan Journal: Feb 2, 1976
Silence. Space pressing in on you. Heavy. No air. Can’t breathe. So hard… to move. Until STEPHEN BOOK snaps his fingers and brings you back again.
[Access the PDF File here.]

Acting Teacher Stephen Book