What People are Saying:

“Jane Brody is a pioneer, and a formative influence on my career as an actor. I was lucky enough to participate in Superscenes while in rehearsal with her for Angels In America, Pt. 2, Perestroika. The work we did was the deepest and fastest way for me to uncover my role. Not only is Jane an intuitive teacher, but a fierce learner focused on passing her knowledge down to her students, peers, and readers. Get out of your head and into the scene.”

Joe Keery, Stranger Things, Netflix series.


“Even today, years after leaving her class, I find myself relying on the principles and ideas Jane presented to all of her students, which I may never have encountered otherwise. The abuse of talent is lack of preparation and Jane’s work is the best preparation I ever experienced.”
Michael Shannon, Elvis and Nixon, Boardwalk Empire, 99 Homes, Long Day’s Journey Into Night, B’dway.


“Jane Brody is a defender and champion of all that makes an actor capable of a great career. She is an artist’s best friend: a liberator and a disciplinarian, a zealot and a traditionalist, a
constant student, and a master of the field.”
Harry Lennix, The Black List, Chi-Raq, Man of Steel, Radio Golf, B’dway.

“How do we move actors into the less accessible regions of themselves and release hotter, more dangerous, and less literal means of approaching a role?”


In Acting, Archetype, and Neuroscience, Jane Drake Brody draws upon a lifetime’s experience in the theatre alongside the best insights into pedagogical practice in the field, the work of philosophers and writers who have focused on myth and archetype, and the latest insights of neuroscience, to answer this question.

The resulting interdisciplinary, exciting volume works to:

  • Mine the essentials of accepted acting theory while finding ways to access more primally based human behavior in actors.

  • Focus on the actor’s body as the only place where the conflict inherent in drama can be animated.

  • Uncover the mythical bones buried within every piece of dramatic writing, the skeletal framework upon which hangs the language and drama of the play itself.

  • Restore a focus on storytelling that has been lost in the rush to create complex characters with arresting physical and vocal lives.

  • A radical new mixture of theory and practice by a highly respected teacher of acting, this volume is a must-read for students and performance practitioners alike. It weaves together a wealth of seemingly disparate performance methods, exciting actors to imaginatively and playfully take risks they might otherwise avoid.