Acting from the Ultimate Consciousness is Eric Morris's fourth popular book on the art of acting. His previous works have established him among the foremost innovators in the world of drama. His system, based on the Stanislavsky method but going far beyond it, begins with an exploration of consciousness and the instrumental needs of the actor and expands to dozens of practical techniques that enable the actor to utilize the full range of his talent. With complete sections on characterization, rehearsing and ensemble, this is a book that all stage or screen actors--beginning to advanced--should read, absorb and practice.

Advanced Consciousness Training for Actors: Meditation Techniques for the Performing Artist explores theories and techniques for deepening the individual actor’s capacity to concentrate and focus attention. Going well beyond the common exercises found in actor training programs, these practices utilize consciousness expanding "technologies" derived from both Eastern and Western traditions of meditation and mindfulness training as well as more recent discoveries from the fields of psychology and neuroscience. This book reviews the scientific literature of consciousness studies and mindfulness research to discover techniques for focusing attention, expanding self-awareness, and increasing levels of mental concentration; all foundational skills of the performing artist in any medium.

Life is an act. We act like humans, and therefore we experience like humans with a litany of limitations, shortcomings and drama that mask our underlying angelic consciousness. It’s an unnatural act that we have come to accept as reality. In Act of Consciousness, Ascended Master Adamus Saint‐Germain begins by explaining the metaphysics of energy. He defines the difference between consciousness and energy and makes the clear point that we are beings of consciousness – not energy – and that the passion of our pure consciousness attracts energy from the unified field to manifest our reality. Adamus defines the four primary levels of energy including Core (soul), Crystalline, Cosmic and Earth while educating the reader about how the various levels are used by our consciousness to manifest our stage-of-life. Adamus implores the reader to act like a Master rather than acting like a less-than‐perfect human. This act will literally change the type of energy being attracted into the reader’s life, and therefore change the reality theatre one exists within. Some readers will question this approach saying, “It’s not real because it’s just an act,” to which Adamus will reply, “But everything in your life is just an act, so why not act like a prosperous, healthy and wise Master? This will change the theatre of your life, but the real question is, ‘Are you really ready for a substantial change, or are you just trying to tidy up your current stage?’” It’s a remarkably simple and effective approach to an otherwise mental and laborious process of becoming your full potential. Act of Consciousness will make you laugh, make you angry and make you question your old beliefs about how reality is created and experienced. By the time you read Saint-Germain’s last words you will cry a few tears of joy and relief to know that life is as easy as an Act of Consciousness. Saint-Germain had many notable past lives, including that of William Shakespeare and Mark Twain (Samuel Clemens). These lifetimes gave him an appreciation for the theatre, acting and story-telling. Book length: Approximately 30,000 words

The Invisible Actor presents the captivating and unique methods of the distinguished Japanese actor and director, Yoshi Oida. While a member of Peter Brook's theatre company in Paris, Yoshi Oida developed a masterful approach to acting that combined the oriental tradition of supreme and studied control with the Western performer's need to characterise and expose depths of emotion. Written with Lorna Marshall, Yoshi Oida explains that once the audience becomes openly aware of the actor's method and becomes too conscious of the actor's artistry, the wonder of performance dies. The audience must never see the actor but only his or her performance. Throughout Lorna Marshall provides contextual commentary on Yoshi Oida's work and methods. In a new foreword to accompany the Bloomsbury Revelations edition, Yoshi Oida revisits the questions that have informed his career as an actor and explores how his skilful approach to acting has shaped the wider contours of his life.

From Richard Hornby's preface: This book is written for those who act, those who teach acting, and those who are interested in seeing it. It is both a theoretical work and a call for action. This book is an unashamed attack on the American acting establishment ... The concepts derive from my graduate seminars in acting theory and history in the School of Theatre at Florida State University ... Much of the feistiness of those classes carries over into this book ... If my arguments serve only to stimulate new dialogue, they will have been valuable.

National Book Award Finalist: “This man’s ideas may be the most influential, not to say controversial, of the second half of the twentieth century.”—Columbus Dispatch At the heart of this classic, seminal book is Julian Jaynes's still-controversial thesis that human consciousness did not begin far back in animal evolution but instead is a learned process that came about only three thousand years ago and is still developing. The implications of this revolutionary scientific paradigm extend into virtually every aspect of our psychology, our history and culture, our religion—and indeed our future. “Don’t be put off by the academic title of Julian Jaynes’s The Origin of Consciousness in the Breakdown of the Bicameral Mind. Its prose is always lucid and often lyrical…he unfolds his case with the utmost intellectual rigor.”—The New York Times “When Julian Jaynes . . . speculates that until late in the twentieth millennium BC men had no consciousness but were automatically obeying the voices of the gods, we are astounded but compelled to follow this remarkable thesis.”—John Updike, The New Yorker “He is as startling as Freud was in The Interpretation of Dreams, and Jaynes is equally as adept at forcing a new view of known human behavior.”—American Journal of Psychiatry