The Diary of a Professional Experiencer is the sixth in a series of books written by Eric Morris. Unlike his other books, this is a very personal account of his frustrations and struggles as he strives to discover how the actor creates reality on the stage or in film. Though the style is autobiographical, this is, nevertheless, a book about acting. It details the specific discoveries and breakthroughs in the evolution of what Morris believes is the most complete acting system to date. The old adage, Necessity is the mother of invention, truly describes his drive to discover, explore, and experiment with incredible techniques for liberating the actor so that acting goes beyond the conventional into the experiential. The book also chronicles Morris' encounters with many famous teachers, actors, directors, producers, and writers, as well as not-so-famous people, who influenced, challenged, and inspired him on his journey. It starts with Morris' early childhood and growing-up years in Chicago and goes on to describe the trials and tribulations of pursuing a career in Hollywood, as well as the fulfillment that comes from creating a truly life-changing approach to living and acting.

Freeing the Actor is the seventh in a series of books by Eric Morris which explain and describe his unique system of acting. His previous books are among the most popular texts used by students and professional actors alike. In this book, which is totally aimed at the instrument, Eric has implemented a complete approach to eliminating the obstacles, dependencies, traps and habits that plague and block actors from functioning from an authentic, organic place. Historically most acting coaches and teachers have failed to adequately address the instrumental problems that cripple actors. By teaching them how not to act, Eric has influenced scores of people to become experiential actors. His teaching has led them to understand that they must experience in reality what the character is experiencing in the material. In order to accomplish that, they must be instrumentally free to connect with and express their authentic emotional realities. Liberating the instrument allows them to access all the colors of their emotional rainbow.

My Hollywood Stories is a collection of informative, historical, educational, funny, exciting, entertaining, sexy, shocking, and tragic stories and anecdotes about famous and not-so-famous Hollywood people--actors, directors, producers, writers, and studio moguls. While it is not a book about acting, it is written by an actor with contributions from various actors, all of whom are writing about other actors. Older readers will take a trip down memory lane, remembering many of the celebrities mentioned, while younger readers will discover Hollywood history from its earlier years to the present. They will learn about the people who were part of the building blocks of the film industry: the highs, the lows, the successes, the failures, and the tragedies.

From the time she was three years old living in Norway, Britt loved animals and surrounded herself with them. When she moved with her family to America, she discovered she also loved performing. But she had parents who considered all of that a sin. Even cheerleading was a big no-no, but somehow Britt managed to overcome their objections. After Clint Eastwood cast her in Play Misty for Me while living in Carmel, she moved to L.A. and quickly was able to obtain work. Featured roles led to co-starring roles, which led to guest-starring roles. She married a producer, had a beautiful baby girl and was working as an actress. She had it all. Then tragedy struck and she lost everything. Acting work became hard to find, and life became a matter of survival. After a daring move to New York, she found herself singing in Carnegie Hall with a gospel group and working in a musical. But still, she felt she had not lived up to her expectations, and she became overwhelmed with hopelessness. But a God-given epiphany set her back on track, and she realized she had a very good reason to go on.

texts that document the Eric Morris system of “experiential acting.” This book is about SUBPERSONALITIES—what subpersonalities are, how they impact our lives and how we use them. It is exclusively written for actors. The journey of exploration starts with the origins and beginnings. Excerpts from books by Carl G. Jung, a Swiss psychologist who explored archetypes, are followed by the use and description of behavioral examples of personalities. The theory is then examined: who are the selves, how were they created and how do they function? The exploration continues with a technique that I created many years ago: THE ELEVENTH LEVEL OF CONSCIOUSNESS, which is totally explained. Then comes EXPERIENCE HUNTING—CHOICE HUNTING, detailing the various approaches used to find experiences and choices that can be used in one’s acting. In the next section of the book, which is a very large section, I detail specifically the approach techniques for accessing subpersonalities, which are: VOICE DIALOGUE (a complete example of the process is given), WRITING IN JOURNAL FORM OR USING A TAPE RECORDER, USING MOVEMENT AND DANCE, USING ART AND DRAWING, USING CHOICES, USING MUSIC, AND ROLEPLAYING. All of those techniques and the approaches to them are explained in specific detail. In EXTERNALS I describe what that approach is and how to use it to access various subpersonalities. Externals is a "megapproach” and an important part of my work. A megapproach is such a powerful technique that it could be used as a total acting system. Externals is a process that includes getting a sense of animals, people, insects and inanimate objects and then translating that energy into human behavior. This technique is very impacting on eliciting various subpersonalities. The last of this group is IMAGING, also a megapproach. The next section explains HOW YOU KNOW WHEN YOU ARE INHABITED BY A SUBPERSONALITY. The actor must be able to distinguish between really inhabiting the energy of a subpart and faking it! The DAILY SUBPERSONALITY INVENTORY is an exercise the actor should do on a daily basis to be able to identify the difference between a mood swing and a subpersonality. The section on RESEARCHING THE CHARACTER explains how to identify the different character elements and find a subpersonality to fulfill those components. All of that is followed by a section about going back to historical events, such as the Second World War or the post-war years and exploring characters in plays and films o

This is Eric Morris’s ninth book. However, unlike the others, this one is not about acting or just for actors. This book is for everyone. Eric’s other books are based on a system that he expanded and modified, as he innovated techniques and approaches to free people from obstacles and emotional blocks that cripple their ability to experience and express their emotions freely. An actor himself and a teacher of acting for almost sixty years, Eric Morris has created hundreds of exercises and techniques that eliminate the years of damage that we in our society have become victims of. Because of his unique approach to the teaching of actors, his process has evolved into an incredible set of tools that miraculously work to free all people from the damaging experiences that have accumulated in their lives. The focus in this book is on finding those damaging experiences and, by using the specific approaches that Eric has created, repairing the damage so as to enjoy a life of happiness and success.