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Review Anthony Abeson's actor-training is an amalgam of his work with Peter Brook, Jerzy Grotowski, Lee Strasberg, Stella Adler and Harold Clurman. Many of his students have gone on to successful careers in theatre, film and television. In 'Acting 2.0: Doing Work that Gets Work in a High-Tech World' Abeson draws upon his many years of experience and expertise to discuss the consequences of the American acting culture's emphasis on using rather than developing talent. In the opening of 'Acting 2.0), he says 'I want to empower you with practical tools with which to do good work that gets work in the room work on the stage and screen that inspires all of us, that arouses not prurience or violence but that precious something, intangible but of inestimable value, that is being destroyed from our lives : our humanity. Enhanced with the inclusion of a four page Bibliography and a two page Author Biography, 'Acting 2.0' will prove an informative and instructive read for anyone aspiring to an acting career. While very highly recommended for personal, professional, community theatre, community library, and academic library Theatrical Studies reference collections and supplemental studies reading lists, it should also be noted that 'Acting 2.0' is also available in a Kindle edition ($9.99), ISBN 9781575259024, $16.95, PB, 165pp, --Midwest Book Review, James A. Cox, Ediitor Read more About the Author Anthony Abeson s high school summers were always spent in summer stock, acting and directing, along with all the other jobs summer theater required: stage managing, set construction,lighting design, etc. Teaching surfaced even then. His earliest memory is of writing the name Konstantin S. Stanislavski on a blackboard in front of bewildered children s theater apprentices. While at Columbia University he made his off-Broadwaydebut as an actor and assistant director at the Sheridan SquarePlayhouse in a repertory company whose director introduced him to Lee Strasberg and the Actors Studio. He was unable to attend his graduation due to his appointment by the Queen Elizabeth II Arts Council as a resident actor and director of the Canterbury Theatre Company in Christchurch, New Zealand, that country s first international, professional theater, where he worked with actors from all over the U.K. (As a twenty-two-year-old American, it was a challenge to direct actors whose previous director had been Laurence Olivier.) While there, Anthony also served as the director of the Experimental Theatre Laboratory of theChristchurch Academy of Dramatic Arts, that country s first training academy.In 1968 he began his long collaboration with Jerzy Grotowski, first as an actor at the Centre Dramatique National du Sud-Est in Aix-en-Provence, and later, in the early 1970s, as a participant/assistant in Grotowski s first Special Project in a forest outside of Philadelphia. Further collaboration occurred under the auspices of the Instytut Aktora in Wroclaw and Brzezinka, Poland. In 1972 Anthony was invited to join Peter Brook, formerdirector of the Royal Shakespeare Company, at his Centre Inter-2.0.indd 163 12/21/2015 12:29:11 PM164 Anthony Abeson national de Recherche Th��trale, in Paris, where he participated as an actor in the Centre s exploration of the effect of nonlinear language on the actor s process. The research was facilitated bythe deliberate inclusion of actors from Japan, Africa, France, and other countries, with hardly any common language between them. Instead, during Anthony s stay, the verbal impulse waschanneled into ancient Greek and/or bird calls and applied to situations created by Ted Hughes, Sylvia Plath s husband, who went on to become the poet laureate of England. In 1968, Anthony started a theater company, the EnsembleTheatre Laboratory, a project of both the New York State Arts Council and the New Mexico State Arts Commission. One ofits founding members was the late actor-monologist Spalding Gray, whose ironic version of their Missouri tour of The Tower of Babel, can be found in his A Personal History of the AmericanTheatre. During this time, Anthony continued to be exposed to LeeStrasberg and the Actors Studio, becoming one of the youngest people ever to address a special session of the Studio with Lee. As a member of the Directors Unit of the Studio, he was taught by Harold Clurman. He was honored to have been a guest in both their homes. In 1973 Anthony began another theater company, the WashingtonTheatre Laboratory of Washington, D.C., with the support of the National Endowment for the Arts and the D.C. ArtsCommission. The company s training program marked the start of many careers, including those of Caroline Aaron and Karen Allen. Selected as a seminal archetype of the experimental theater movement in America, its archival materials are housed in thepermanent collection of the Jerome Lawrence and Robert E. Lee Theatre Research Institute at Ohio State University. For more than twenty-five years, Anthony has been an actingteacher and coach in New York City. Many of his acting students have gone on to successful careers in theater, film, and television. Read more

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