This is a book for the thinking actor, and the finest actors I've known are just that. The best actors bring it all together body, heart, spirit, and mind. This book is for the actor who thinks about craft and influence, who thinks about the relationship of performance to living, who thinks about doing and what that doing means. Acting is a metaphor and it's a mirror, and, so, a theory of acting, if true, shows us to ourselves. Jeff Zinn knows this. He knows it as an actor, director, teacher, and thinker. His theory of everything is simple and revelatory. (from the foreword by Todd London)

In this provocative book by actor Kyle Secor (Homicide: Life on the Street, The Flash, Veronica Mars), you're invited on a wild ride into the unknown where the 'me' and the 'actor' are not all they appear to be. Where the freedom of acting without an actor and doing with a doer may be the unavoidable expression of Love. Not only for actors, but a book anyone might keep nearby as a reminder of just what is.

In The Death of the Actor Martin Buzacott launches an all-out attack on contemporary theatrical practice and performance theory which identifies the actor, rather than the director, as the key creative force in the performance of Shakespeare. Because actors are absent from the site of Shakespearean meaning, he argues, the illusion of their centrality is sustained only by a rhetoric of heroism, violence and imperialism.

The 1978 murder of actor Bob Crane remains unsolved. Hook retested the original blood evidence, and searched for the identity of the killer. He shows how police mistakes and missing evidence impacted the investigation, and raises new questions in the search for truth.

SYSMOD is an MBSE toolbox for pragmatic modeling of systems. It is well-suited to be used with SysML. The book provides a set of methods with roles and outputs. Concrete guidances and examples show how to apply the methods with SysML. * Requirements modeling * System Context * Use Cases * Functional, Physical, Logical and Product Architectures * Guidances how to create a SysML model * Full-fledged SysML example * Complete definition of a profile for SYSMOD This book is also available as an eBook at leanpub.com/sysmod.

A New York journalist is pulled into the drama of Hollywood as she investigates the life and death of actor Sal Mineo in this historical fiction by Susan Braudy. In the carport of his West Hollywood apartment, American actor Sal Mineo was stabbed in the heart by a mugger who fled the scene, presumably acting under homosexual motivation. As she searches to fill in the gaps of his life and murder, Sara Martin, a New York journalist, is drawn into the glittering, highly charged homosexual milieu of Hollywood in this based-on-fact novel.

This book is concerned with such questions as the following: What is the life of the past in the present? How might “the theatre of death” and “the uncanny in mimesis” allow us to conceive of the afterlife of a supposedly ephemeral art practice? How might a theatrical iconology engage with such fundamental social relations as those between the living and the dead? Distinct from the dominant expectation that actors should appear life-like onstage, why is it that some theatre artists – from Craig to Castellucci – have conceived of the actor in the image of the dead? Furthermore, how might an iconology of the actor allow us to imagine the afterlife of an apparently ephemeral art practice? This book explores such questions through the implications of the twofold analogy proposed in its very title: as theatre is to the uncanny, so death is to mimesis; and as theatre is to mimesis, so death is to the uncanny. Walter Benjamin once observed that: “The point at issue in the theatre today can be more accurately defined in relation to the stage than to the play. It concerns the filling-in of the orchestra pit. The abyss which separates the actors from the audience like the dead from the living...” If the relation between the living and the dead can be thought of in terms of an analogy with ancient theatre, how might avant-garde theatre be thought of in terms of this same relation “today”?