Shakespearean Rhetoric: A Practical Guide for Actors, Directors, Students and Teachers

Abstract

book also inspired me to think deeply about the intersection of breath for performers and breath for health and wellness; other voice trainers will surely discover new techniques or appreciate seeing their work through a new lens. At times, the writing leans toward sensationalism. For example, in the chapter entitled Mouthbreathing, Nestor claims that “Ninety percent of children have acquired some degree of deformity in their mouths and noses” (32), but further inspection of the source reveals that, while technically true, fewer than 15% of these cases are serious enough to merit medical treatment (Notes, 237). Given this example, I encourage readers to investigate the original research used in the book to understand full context of the material. Overall, this is a fascinating and useful book, reminding us that “to breathe is to absorb ourselves in what surrounds us, to take in little bits of life, understand them, and give pieces of ourselves back out. Respiration is, at its core, reciprocation” (39). This book highlights many individuals who are currently exploring and working with breath. The innovations described could make this volume a good companion piece for students and clients on their own journeys of breath discovery, as well as breath practitioners.