Acting The Gister Method

ISBN-10: 0205032257
ISBN-13: 9780205032259
Edition: 2013
List price: $35.99
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Description: Debuting it its first edition, Acting: The Gister Method moves from the beginning process of establishing character and given circumstances, through Gister's unique principle of action, and into step-by-step examples of applying the ideas to plays,  More...

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Book details

List price: $35.99
Copyright year: 2013
Publisher: Allyn & Bacon, Incorporated
Publication date: 1/19/2012
Binding: Paperback
Pages: 192
Size: 5.50" wide x 8.50" long x 0.25" tall
Weight: 0.704
Language: English

Debuting it its first edition, Acting: The Gister Method moves from the beginning process of establishing character and given circumstances, through Gister's unique principle of action, and into step-by-step examples of applying the ideas to plays, scenes and monologues. Along with a reader-friendly breakdown of the theoretical aspect of his method, the book contains many down-to-earth examples of experimenting and playing via the imagination and of putting the methods to work in real-life rehearsal and theatre situations.

Preface
Acknowledgments
About The Author
Introduction
Influences
Students of Stanislavski: Strasberg, Chekhov, Meisner, et al 3 Gister
Who am I?
The Play As A Guide To Who Am I?
First Reading
Second Reading
Third Reading
The Imagination
Exercising Your Imagination
Transformation Into Character
Types
Stereotypes And Functional Characters
Real People
Anomalies
Narratives
Passions
Other Areas To Investigate
Body
Age
Movement
Voice
Challenges, Disorders, and Illnesses
Mannerisms and Habits
Emotion, Posture and Physical Expression
Relationships
Status
Race, Culture, and Nationality
Spirituality
Vulnerability
Discovery
Questions and Answers
Where am I? and When am I there?
Designers
Sources
The Play as a Guide to Establishing where Am I?
What Where am I? Means to You, as the Character
Some Areas To Investigate
Where am I? In The World
Where am I? In My Locale
Where am I? In My Immediate Space
What Does this Place Mean to Me, as the Who am I?
The Play as a Guide to Establishing when Am I There?
What when Am I There? Means to you, as the who Am I?
Preceding Time
Some Areas To Investigate
When am I there? in a Large Time Frame
When am I there? Within the Year
When am I there? Within the Span Of 24 Hours
What Does this Time Mean to Me as the Who am I?
Questions and Answers
What do I want?
Super-Objective and Objective
Action, Intention, and Motivation
Classical Plays
Modern Plays
Prior Knowledge
Articulating the Super-Objective and the Objective
Revealed Meaning
Stakes
Obstacles
A Word About Listening
What Do I Do After I Get or Fail to Get What I Want?
Questions and Answers
How Do I Get What I Want?
Some Common Definitions (And Why to Put Them Aside)
Action Defined in this Approach
The "How" of the Action
Using Actions with Images and Objects
Consequences of Playing an Action
Action is Anchored in the Objective
Action in Classical and Modern Plays
Action, Objective, Paradox, and the Present Moment
Questions and Answers
Putting It All Together
Getting Started
First Reading
Act I
Act II
Act III
Act IV
First Impressions
Second Reading
Third Reading
The Questions
The Title
Who am I?
Fictional or Real?
Three-Dimensional or Stereotype?
Passions (Likes, Dislikes, Loves, and Hates)
Body: Age
Body: Movement
Relationships
Relationships: Status
Relationship: Race, Culture, and Place of Origin
Where Am I?
When Am I There?
What Do I Want?
Super-Objective
Objectives
How Do I Get What I Want?
How of the Action
What Do I Do After I Get or Fail to Get What I Want?
Using this Approach to Analyze a Scene
The Text to be Analyzed: The Sea Gull, By Anton Chekhov, Act II, Nina and Treplev
Nina's Soliloquy Before the Scene Begins
Treplev's Entrance Disrupting Nina
Treplev's Short Monologue at the End of the Scene
Nina: Who am I?
Nina: Where Am I and When Am I there?
Nina: What Do I want?
The Scene Between Nina and Treplev
Personalization and Preparation for Nina
Personalization and Preparation for Treplev
Treplev: Who am I?
Treplev: Where am I? and When am I there?
Treplev: What do I want?
A Note About Transitions
Transition: Treplev Enters.
Beatl
Beat 2
Beat 3
Beat 4
Beat 5
Beat 6
Beat 7
Beat 8
Beat 9
Beat 10
Beat 11
Beat 12
Beat 13
Beat 14
Beat 15
Beat 16
Beat 17
Beat 18
Nina: What do I do if I get or don't get what I want?
Treplev: What do I do if I get or don't get what I want?
Remembering it All: Marking Your Script
Preparation and Rehearsal
More Examples of Applying the Methodology
Yelena In Uncle Vanya by Anton Chekhov
Commentary
Reading One: Understanding the Story
Reading Two: Gathering the Facts
Reading Three: Yelena's Point of View
Who am I?
Where am I and When am I there?
What do I want? (super-objectve):
What do I want? (objective for this monologue):
Beat 2
Beat 2
Beat 3
Beat 4
Beat 5
Beat 6
Beat 7
Beat 8
Beat 9
Beat 10
Beat 11
Beat 12
Beat 13
Beat 14
Commentary
Emilia in Othello by William Shakespeare
Reading One: Understanding the Play
Reading Two: Gathering the Facts
Reading Three: Emilia's Point of View
Who am I?
Where am I and When am I there?
What do I want?
How do I get it?
Beat 1
Beat 2
Beat 3
Beat 4
Beat 5
Commentary
Beat 6
Beat 7
Beat 8
Male or Female in Sonnet Number One by William Shakespeare
Who am I?
Where am I and When am I there?
What do I want?
Beat 1
Beat 2
Beat 3
Beat 4
Beat 5
Action on an Audience
Beat
Beat
Beat
Beat
Male or Female Using Lines From Savage/Love by Sam Shepard and Joseph Chaikin
Sample Exercise 1: Actions with Objectives
Sample Exercise 2: Actions and the Hows of the Actions Without Objectives
Sample Exercise 3: Solo Work
Creating Your Own Text
Conclusion
Action Word Lexicon
How of the Action Word Lexicon
Annotated Playlist
Works Cited
Index

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