The Routledge Performance Practitioners series, edited by Franc Chamberlain, is a new set of introductory guides to a range of key figures in the development of twentieth-century performance practice. Each book focuses on a single practitioner, examining his or her life, historical context, key writings, and productions, and a selection of practical exercises. These concise volumes are intended to offer students an initial introduction to the practitioner and to “provide an inspiring spring-board for future study, unpacking and explaining what can initially seem daunting” (Merlin, ii). The list of practitioners in the complete series include Stanislavsky, Brecht, Boal, Lecoq, Grotowski, Anna Halprin, and Ariane Mnouchkine, thus examining a range of performance styles and practices, creating a valuable overview of the development of performer training through the twentieth and into the twenty-first centuries. Such interest in the history of specific approaches to training performers has been addressed in other volumes, such as Twentieth-Century Actor Training, edited by Alison Hodge (New York: Routledge, 2000), and Acting (Re)considered: A Theoretical and Practical Guide, edited by Phillip Zarrilli (London: Routledge 2002). Both those collections contain in-depth chapters focusing on aspects of the selected practitioners' theoretical and practical approaches to the principles and concerns in their work. Where the books in the Routledge Performance Practitioners series differ is that they offer a more general overview of the practitioner in one volume, and in addition to the historical context, they provide a set of practical exercises that can be carried out by the student or teacher, as well as by the actor or director. The books are well presented, divided into clear sections, with relevant photographs and diagrams. There are also sidebars providing definitions and further information on key figures and terms mentioned in the main text. This review covers the first four books in the series, examining the work of Konstantin Stanislavsky, Michael Chekhov, Vsevolod Meyerhold, and Jacques Lecoq.
Explanations and Implications of ‘Psychophysical’ Acting