Acting Is Believing: A Basic Method by Charles McGaw (review)

472 MODERN DRAMA February The problem that Dr. Vos attempts to solve is a major one, however, and in .his hands it receives a thought-provoking treatment, even though it does not altogether convince. And his Christian-oriented studies of Wilder, Ionesco, and Fry are of considerable interest. JOHN CEROVSKI North Central College ACTING IS BELIEVING: A BASIC METHOD, 2nd Ed., Charles McGaw, Holt, Rinehart and Winston, Inc., 219 pp. Price $4.95. In the preface the author says ". . . the actor's job is to create a believable character within the circumstances of the play and to present the character with theatrical effectiveness. . . . The actor must develop an inner and outer teChnique and the neglect of either deprives the actor of complete mastery of his art." Most teachers, directors and actors will subscribe to these statements; the question is: has the author given helpful, tangible, sensible instructions on how to attain these generalities. The answer is a reserved "yes/' The first six chapters explain simply, clearly and logically the questions of preparation: exploring your resources, finding a purpose, the circumstances, relaxation and concentration; there are exercises and summaries; the author informs the actor how he can use his intelligence, his life experiences, his senses on the stage in preparation for playing a part. These chapters are fresh, detailed, helpful. Part II (chapters 7 through 10) concern getting into the part. This section is reminiscent of much that has appeared in previous books, though subjects such as "discovering the motivating force," as presented, should be revealing and useful to directors and actors. "Finding the undermeaning of lines" may open the minds of beginners, "relating the lines to the dramatist's meaning" offers sensible advice though surely intelligent actors and directors become aware of this though perhaps unconsciously. Part III, The Actor and the Production, strikes one as having been written hurriedly, it is brief and repetitious of what has been set down often before and is general rather than detailed and practical. The author does very well in giving a helpful, sensible exposition of how to accomplish the objectives set forth in his preface. Perhaps the outstanding feature of the book is his method of approach to acting. This is not the only method but it is a sound and sensible one. Part I should be welcomed by the experienced or inexperienced teacher and director; the second and third parts may be of more value to beginners who may, however, wish at times for fuller instructions. The book calls to mind that each generation must have its new treatises on acting in which previously known methods and techniques are restated in a current vocabulary and in a fashion of the times with now and then a fresh emphasis in method or a new idea of values. One could express minor criticisms: Are so many exercises taken from excerpts of plays necessary? Do the complete texts of the one-act plays serve a justifiable purpose (since so many plays are easily accessible), or do they only give the book added length? All in all, Acting is Believing (which, by the way, is an ambiguous title), is recommended to amateur directors, teachers and actors, especially Part I. ALLEN CRAFTON University of Kansas ...