I want to note that these words are my own. I was not paid for them in anyway. I purchased a copy of this book for my own personal library.

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I'm writing this review because this is a book I thoroughly enjoyed. Since the first book about theatrical intimacy was published in 2020 by Chelsea Pace (check out my blog on books for beginners here) there have been many books written since. Right now those books focus on the work as being an Intimacy Professional. This book however is the first (of hopefully many) that draws its focus primarily on how intimacy and acting may work together.

While I feel this book only scratches the surface is is limited by the select few essays, it's at least a start. In this book it contains essays from seven different theatre and film educators and practitioners. One chapter is a transcript discussing Stanislasky and intimacy in film. I found that particular essay shared very little, and in my opinion should have been a part of a film and intimacy collection. The rest of the essays were specific, and intentional about how to bring a man who is not here to speak for himself up-to-date with our latest acting practices.

I'd like to point out that if you're looking for a book with exercises regarding intimacy and Stanislavsky's methods, you won't find it here. I don't dislike the book. On the contrary I found it to be a good starting point to relook at intimacy from the teaching standpoint of Stanivslasky and his method.

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If you are

not an intimacy professional and don't ever plan to be, you're probably wondering why you should still read this book.

Here's why -

When people hear 'intimacy' and 'intimacy professionals' in acting spaces they generally associate what we do with sexual moments only. That's not necessarily the case. Acting in itself is intimate. We are asking people to not only pretend they're someone else, but to also display various levels of relationships with other Actors.

What I appreciate about this book is it takes the tools we use as Intimacy Professionals and connects it to this particular method of Acting. What's important about this for any Intimacy Professional, Director, and Actor to get from this book is how consent between the Actors and other personnel in the room, the Actors autonomy of themselves, and their approaches to the work may work with one another.

My favorite chapters in this book were written by Laura Rickard, Ann James, and Emily A. Rollie. I will be transparent and let you know that Laura and Ann are two people I know and have studied with. So knowing them and reading their words, I felt I understood them probably better than the others in the book.

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The price of the book is dictated by the publisher and I feel it's a bit pricey for what you get. However, it's definitely one I strongly feel that we as theatre and film practitioners (directors, acting teachers/coaches, and intimacy professionals) should have on our shelves. The tools and ideas offered may help you better understand, connect, and guide the actors you're with that want to 'dive into the work,' but be able to share the boundaries they want to work in.

It's a resource worth reading and having on hand to refer to from time-to-time.

You can click here to purchase your copy of Stanislavsky and Intimacy'.