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| All chapters conclude with Summary | |
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| List of Exercises | |
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| Foreword by Ted Danson | |
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| Preface | |
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| Acknowledgments | |
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| Preparing Yourself | |
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| The Actor in You | |
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| The Skills of the Actor | |
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| Acting and Your Personal Growth | |
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| Discipline | |
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| The Creative State | |
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| Tension and Excessive Effort | |
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| Restful Alertness | |
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| Being Whole | |
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| Relaxation | |
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| The Here and Now | |
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| Centering and Moving | |
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| Your Relationship to Gravity | |
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| The Pure Center and the Voice | |
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| The Actor's Use of Center | |
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| The Cycle of Energy | |
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| Grounding | |
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| Phrasing Movement | |
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| Gesture | |
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| Communication through Gesture | |
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| The Genesis of Gesture | |
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| Implied Gestures in the Text | |
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| Voice | |
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| The Voice and Emotion | |
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| The Source of the Voice | |
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| Tone Production | |
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| The Voice and Inner Dynamic | |
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| The Voice and Attitude | |
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| Using Your Own Voice | |
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| Speech | |
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| The Process of Speech | |
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| Nasal Sounds | |
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| Oral Sounds: Vowels and Diphthongs | |
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| Oral Sounds: Consonants | |
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| Speech and Character | |
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| Further Training of Body and Voice | |
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| The Performance Space | |
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| The Stage | |
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| Directions on Stage | |
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| The Scale of Performance | |
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| Working with Others | |
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| The Bodily Center and Relationship | |
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| Commitment, Support, and Communication | |
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| Transaction and Teamwork | |
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| Action | |
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| Action | |
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| Action According to Stanislavski | |
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| Action in Life | |
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| Internal and External Action | |
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| Believability | |
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| Indicating | |
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| Action and the Acting Process | |
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| Public Solitude | |
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| Dual Consciousness | |
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| Action and Emotion | |
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| Action and Character | |
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| Personalization and the Magic If | |
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| The Acting Process | |
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| Needs, Actions and Objectives | |
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| Wants and Needs | |
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| Actions and Objectives | |
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| Defining Productive Objectives | |
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| Connecting Action with Others | |
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| Spontaneity | |
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| Playable Actions | |
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| Defining Playable Actions | |
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| Units of Action | |
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| The Given Circumstances | |
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| The Flow and Shape of Drama | |
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| Action and Reaction: The Life of the Scene | |
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| The Shape of Drama | |
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| Drama and Conflict | |
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| Beats and Scenes | |
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| Analyzing Beats: The Score | |
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| Scene Structure | |
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| Through-Line and Superobjective | |
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| The Superobjective | |
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| Character | |
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| The Function and Elements of Character | |
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| Dramatic Function | |
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| Functional and Likeness Traits | |
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| Categories of Character Traits | |
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| Physical Traits | |
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| Social Traits | |
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| Psychological Traits | |
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| Moral Traits | |
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| Economy of Characterization | |
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| A Character Checklist | |
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| The Character's Mind | |
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| The Instroke of Reaction | |
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| Choice | |
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| Automatic Actions | |
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| Direct and Indirect Action | |
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| Not Doing: Suppression | |
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| The Character's Language | |
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| Word Choice: Text and Subtext | |
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| Rhythm | |
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| Melody | |
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| Imagery | |
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| The Character's Body | |
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| Personality in the Body | |
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| The Character's Center | |
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| The Flow of Bodily Energy | |
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| Physique and Personality | |
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| Body Alignment and Character | |
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| The Character's Emotion | |
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| From Action to Emotio | |