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| Each chapter concludes with a summary | |
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| Preface | |
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| Acknowledgments | |
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| Exercises | |
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| Introduction | |
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| The Nature of the Dramatic Situation | |
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| Acting in the Dramatic Situation | |
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| Understanding Acting Technique | |
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| Acting Through Improvisation | |
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| Preparing The Body To Act | |
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| Centering | |
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| Center | |
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| Kinesthetic Awareness | |
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| Relaxation | |
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| Alignment | |
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| Respiration | |
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| Balance, Coordination, Flexibility, and Strength | |
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| Rediscovering Center | |
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| The Actor's Neutral | |
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| Voice | |
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| Feeling the Voice | |
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| The Process of Vocal Production | |
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| Sound and Speech | |
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| Taking Pleasure from Sound | |
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| Opening the Vocal Passage | |
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| Resonance | |
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| Articulation | |
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| Sound and Emotion | |
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| Sound and Movement Integration | |
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| Words and Feelings | |
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| Harnessing Energy | |
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| Energized Performance | |
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| Life Energy and Theatrical Energy | |
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| Enlarging Expression | |
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| Centering and Energy | |
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| Directing Energy | |
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| Purpose, Concentration, and Energy | |
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| Environment as Physical Energy | |
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| Character and Energy | |
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| Developing Trust Through Physical Sharing | |
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| Breaking Down Barriers | |
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| Eliminating the Fear of Touching | |
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| Surrendering Physical Control | |
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| Shaping and Sharing and Improvisation | |
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| The Warm-Up | |
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| Getting Focused | |
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| Creating the Warm-Up | |
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| Group Warm-Ups | |
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| Relating the Warm-Up to the Work | |
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| Embodying The Dramatic Situation | |
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| Communicating on Stage | |
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| Listening and Taking In | |
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| Personalizing | |
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| Personalization and Subtext | |
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| Given Circumstances | |
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| Physicalizing the Given Circumstances | |
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| Justification Through Given Circumstances | |
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| Improvising the Given Circumstances | |
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| Integrating the Given Circumstances | |
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| Endowing the Given Circumstances with Emotional Meaning | |
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| Objectives and Actions | |
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| Objectives and Action Verbs | |
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| Objectives Reflect Character and Circumstances | |
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| Objectives and Obstacles | |
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| Objectives and Actions as Tactical Adjustments | |
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| Inner Action | |
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| Integrating Technique | |
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| The Psycho-Physical Connection | |
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| Psychophysical Action | |
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| Inner Action Justifies Physical Action | |
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| Making Strong Physical Action Choices | |
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| Speech Is Action | |
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| Action, Movement and Gesture | |
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| Action Before Emotion or Emotions Before Action? | |
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| Understanding The Script | |
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| Reading a Play for Performance | |
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| The Process of Interpretation | |
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| The Story | |
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| Plot | |
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| Superobjective and Dramatic Action | |
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| Character and Dramatic Action | |
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| Theme | |
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| Style | |
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| Genre | |
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| Tempo and Rhythm | |
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| The Scene as Microcosm of the Play | |
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| Entering Your Character's World | |
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| Discovering Your Character's Environment | |
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| Who--The Start of the Search for Psychology of Character | |
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| Writing a Character Biography | |
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| The Psychological Past as Action in the Present | |
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| Scoring the Scene | |
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| Determining Objectives | |
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| Beats and Moments | |
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| Scoring the Beats | |
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| Scoring the Action | |
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| Line Readings as Spoken Action | |
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| Building Beats and Actions into a Scene | |
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| The Integrated Process | |
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| Creating a Character | |
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| Thinking | |