The Actor and the Target

by Declan Donnellan

Declan Donnellan's fresh and radical approach to acting takes a scalpel to the heart of actor's persistent fears from . . . "I don't know what I'm doing" through "I don't know who I am" to "I don't know what I'm playing." The Actor and the Target has already been hailed by the press in Russia where it is already published:

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"Practically and modestly written, Declan Donnellan's book helps actors to release their talent to be free on stage. However Donnellan's path leads to wider perspectives, his book is rooted in modern theatre, modern psychology and, above all, modern reality. Written with grace and elegance, The Actor and the Target will be thoroughly enjoyed not only by the actors of the new millennium, but also by those of us who see the stage from the dark auditorium."-Izvestia

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"Donnellan's directing style is immediately recognizable in his book, drenched in its spirit of artistic and personal freedom. Unpretentious, straightforward, and pierced with acute insight."-Kommersant

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Clearly and systematically laid out and full of firm and unambiguous precepts, this book will become a bible for actors in the 21st century.

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Declan Donnellan is the first Director of the Royal Shakespeare Academy and is best known for his work with Check By Jowl, including As You Like It, and the recent production of Homebody/Kabul in New York. As Associate Director of the National Theatre his pro-ductions included Fuente Ovejuna, Sweeney Todd, and Angels in America. Abroad, his work abroad includes Le Cid for the Avignon Festival, The Winter's Tale for the Maly Theatre in St. Petersbourg and Puskin's Boris Godunuv for the Moscow Theatre confederation. He has received awards in London, Paris, New York, and Moscow.

Genres: Theatre, Nonfiction, Film, Art, Drama, Plays, Crafts

305 pages, Kindle Edition

First published January 1, 2000

Reviews

[Mark · Rating 5 out of 5]

This is one of my favorite books about acting and is as valuable for the director as it is the actor. This is not a book for beginners. It's primarily a book about how to break through blockage in rehearsal and performance. It's very heady and assumes a thorough understanding of acting and the foundation work needed to prepare for rehearsals, but it is also incredibly smart and inspiring. This is a must-read for every professional actor, director and teacher of acting/directing.

[Dan · Rating 5 out of 5]

Really great way to think about acting, but even better when considered as a directing book. The tools he outlines in the book are great to contextualize relationship, stakes, and the self-fulfilling prophecy of fear (the number one cause of a bad performance is fear that you'll give a bad performance). The few exercises he touches on are really useful for fixing some of the most common problems I see in all levels of performance, and help actors clarify for themselves why they are there, what they're trying to change, and what will happen if they succeed or fail.

For actors, it continues the line of thinking started in something like How to Stop Acting by Harold Guskin: that intellectually trying to create an emotional through-line is a self-defeating task, and there are some much simpler (NOT easier) things to focus on that are exponentially more helpful in creating a live performance. Not really for the total beginner, I think the text would be more useful for someone who already has a solid foundation in the craft. The book spends most of its time dissecting and dismantling common blocks, like "I don't know who I am" or "I don't know what I want."

As an aside, I didn't realize until halfway through that this book was actually originally written in Russian.

Overall, a great book that has fundamentally changed the way I think about scene work.

[Dylan Zucati · Rating 5 out of 5]

I hate reading books about acting because they get so academic and technical; as if there is one way to act, one way to be truthful with a text. The Actor and the Target forces you to get out of your head and recognize that everything you need to act has always been in front of you. It’s like a manual for coaching actors to just act goddamnit. For those it matters to, Nick O’Leary told me to read this book; like most things having to do with theatre, he was right.

[*ೃnaziba ˘͈ᵕ˘͈ · Rating 4 out of 5]

This book regurgitates the same information 5000 different ways

[Cameron Krogh Stone · Rating 5 out of 5]

Read this book if you want to understand life, and how tightly humans and nature are interlinked. Read it to see some of these connections more clearly. Read it to pay better attention to your surroundings. Read it to focus on what’s most important. Read it to forget your inner dialogue, your ego and self-consciousness. Read it to better understand the human condition, and the existential need to perform.
Read it, if you want to understand what it takes to act, and direct actors.
The most enlightening book on acting I’ve read to date, full of practical exercises as well as life lessons. A bit convoluted at times, but forgive it and push through, the payoff is worth it.

[Colin Bruce Anthes · Rating 5 out of 5]

Truthfully, this book about getting out of one's head is counterintuitively over-written. So much of it, however, is brilliant that I'm giving it 5 stars all the same.

[celine · Rating 5 out of 5]

this book should be a staple for every actor

[Jorge · Rating 4 out of 5]

El libro cumple muy bien su cometido: Ayudar al actor/actriz con los bloqueos a los que nos enfrentamos en ficción. Da herramientas muy útiles y perspectivas que ayudan a ver esos miedos con unos ojos más claros y amables. En resumen, todo se trata de la atención. ¿Dónde estoy poniendo mi atención?

Por un lado, creo que el libro es muy repetitivo. Pero me imagino si uno lee de vez en cuando un capítulo esta repetición puede ser necesaria para recordar esos fundamentos que propone el libro.

También se me hace rara la traducción de “la Diana” pero no se me ocurriría otra manera de hacerlo. Aún así se entiende, solo hay que hacer el esfuerzo, al principio, de recordar quien es la Diana.

[Daniel · Rating 5 out of 5]

This book would have been a pleasure to read even without the brilliant acting insights; the style is positively delightful. Donellan has written the book such that you don't need to try or concentrate to understand the wisdom inside (In fact, not to do so would have gone against the book's very philosophy).

[Goody · Rating 5 out of 5]

Great. Compatible with training at the SITI Company and the Esper Studio.

[Brandon Broughton · Rating 4 out of 5]

A wonderful and insightful read on the nature of acting, and how acting is interwoven into our everyday lives. This book isn't just for the actor, it's for any thinking individual.

[Sarah Odell · Rating 3 out of 5]

If I could do 3.5 stars for this book I would!
I was recommended this book from an acting coach I had during my time studying Musical Theatre.
I can see how this book my prove a useful tool to some actors, depending on their approach. For me however, my approach to acting is far different. That being said, I still took away a few useful tools from this book and am grateful for having read it.

Note: I think this book would be INVALUABLE to anyone playing Romeo and Juliet!!! Very helpful for the ‘invisible work’, learning more about the characters wants and needs and generally having a better understanding of the text.

[Vasco Barroso · Rating 4 out of 5]

Apesar da fragilidade autoral que, em alguns momentos, torna a leitura deste livro uma experiência tediosa, as questões levantadas sobre o trabalho do ator – que, para mim, são uma redescoberta de Meisner – contribuem para relativizar e desmistificar esta profissão que, frequentemente, é envolvida numa aura metafísica e numa espiritualidade excessivamente aborrecida.

Chega de posições fetais, de explorações sadomasoquistas sobre o trauma e de todas as artimanhas que inventamos para endeusar uma profissão que, no fundo, se resume ao acto de contar histórias – uma tarefa de grande importância para a continuidade da experiência humana.

Morram os reacionários do teatro, morram. PIM!

[Ismael Lazreg M · Rating 5 out of 5]

lo he leído movido más por la curiosidad que por una expectativa clara, y en muchos sentidos, el libro ha resultado ser completamente diferente a lo que imaginaba, aunque ya no estoy seguro de qué era eso exactamente. parte de la premisa fundamental de que todos somos actores (y estoy completamente de acuerdo). más que un libro sobre actuación, es una reflexión profunda sobre psicología humana.

contrapunto: me costó mucho pillar el gancho, me resultaba super confuso

[Celia · Rating 4 out of 5]

This book is very helpful for those who have already learnt acting techniques and know the basis of method acting. This book not only helped me to find myself in the process of character development but it will also help me to not block myself in the future.

[Jenna H · Rating 5 out of 5]

Highly recommend for experienced actors looking to get “un-stuck” or in need of some inspiration. Really great and simple way to look at acting.

[Kristen Lee Vire · Rating 4 out of 5]

I'm eager to use some of the exercises provided in this text! I think this will be especially useful to reference if I am ever in a Shakespeare play, specifically Romeo & Juliet.

[Simon · Rating 2 out of 5]

He made his points, but could've done it with 200 less pages

[Ewan Bruce · Rating 5 out of 5]

Nice to revisit this 🐐

[Karol Stanisz · Rating 5 out of 5]

An excellent read for actors and directors alike. Donnellan doesn't preach, only highlights what doesn't work and offers possible solutions. Good stuff.

[Annamåd · Rating 5 out of 5]

Jeg må bare si tusen takk til fortid-Annamåd som valgte å kjøpe denne boken, fordi den har vært såå lærerik og interessant og inspirerende, og selv om det tok meg sånn 3 år før jeg ble ferdig med den så har det vært utrolig verdt det.

[Phoebe C]

really good for acting/directing/writing. also really good for thinking about what it means to be a person

[Kaysy Ostrom · Rating 5 out of 5]

Note: I am a theatre student and a complete theatre nerd to the MAX. I love acting and the art of acting is completely and utterly fascinating to me. This is a MUST read for anyone interested in being an actor. It's my favorite text I've had to read for my theatre classes thus far. It's not so much a "how to act" book, like Meisner and Stanislavski, its more of a "how do a revitalize my work" and "what do I do if I feel blocked and unproductive" book, as feeling that way is inevitable at times. There's lots of quirky anecdotes and digressions that keep it from feeling like a text book but it also has SO many words of wisdom that changed my view on acting completely. Also, I finished reading it on time. Lots of people in my class procrastinated to I'm gonna ace this quiz and that feels goooood :)

[primoguitaro · Rating 5 out of 5]

The Actor and the Target is an inspiring, insightful book. I quickly realized it was not a book meant for beginners, and yet, this is something that offers perspectives on acting I never considered prior to picking this up. Some quotes truly hit me, and several pieces of advice offered I know I will take and use.

The language I also have to comment on. The writing style (I know, I know it's a nonfiction acting book) is hard to read and so this book is one I believe would generally require more time and focus to get through, however, it is definitely worth it. The writing and the chapters are accompanied by examples taken from well-known plays that bring to life what is being said.

Not the best book to start with if you're new to acting and new to reading acting books. I am certain I will be returning to this in the years to come.

june-july 2021 - '58'

[Samuel Wharton · Rating 5 out of 5]

From finishing my acting Degree I was determined to continue reading, and exploring other ideas for the rest of my career in order to develop. This may be on your reading list for your degree. To this I would suggest reading it again once you finish because it is so easy to follow and not too dense.
If it wasn’t on your reading list, as soon as you finish your course (or during your course) read it! It is one of the best books to begin expanding your knowledge. If you’re thinking about acting as a career or for training, give this a read. Having this as your first read into the field puts you miles ahead and will open your mind and inspire you to want to continue to read into the field.

[Dennis · Rating 4 out of 5]

This is one of the better acting books I have read, and I have read most of them. Acting books are always hard as acting can not be learned from a book. Declan Donnellan has some great insight into common blocks actors have.

His information is not new. His comments about the target is what Meisner refers to as your partner. What is great is how Donnellan words things and breaks down common ideas and rewords ideas to show what the actor should be focused on.

[Tia · Rating 4 out of 5]

This book was written to encourage actors to take the pressure off themselves and just be as open as possible on a stage. Everything you need to play a role already exists! There are impulses coming at you constantly! I read most of this just before playing Mary Warren in "The Crucible" and had perhaps the most relaxed and fulfilling theatre experience I've ever had. This book was not the sole reason for that, but it was a large part of it.

[Matt · Rating 5 out of 5]

I found this essential reading during two rehearsal processes and thesis work on personal ownership of one's role and the practical application of that ownership both in rehearsal and performance. Donnellan's text is clear and crisp, addressing the problems that often plague a frightened actor and providing a simplification of one's thinking that allows for an outside, active experience while playing.

[Laura Beth · Rating 5 out of 5]

If you do not read any other books on acting . . . read this one, please. Skip all the Meisner and Adler stuff, read this one and it will put you in the game and help you find yourself and your voice without having to think too terribly hard about the "existential" of the more complex methods . . . not to say this book presents an easy path, but it is a doable, intuitive one.

Read it, actors. Read it--and discover

[Amber Hooper · Rating 2 out of 5]

I read this for a class and never, ever in a million years would have picked it up otherwise. I am not an actor, and I am not interested in pursuing acting at all besides maybe auditioning for a show before I leave college. If I had experience acting before and had plans to pursue acting in the future, I think this book would have been much more helpful and relatable, but for me it wasn't really either of those things.