| |
| |
List of Exercises | |
| |
| |
Preface | |
| |
| |
| |
The Ground: Preparing Yourself | |
| |
| |
The Exercises and In-Class Performances | |
| |
| |
A Note On Discipline | |
| |
| |
| |
The Actor | |
| |
| |
In You The Skills Of The Actor | |
| |
| |
The Tradition Of The Actor | |
| |
| |
The Modern Period Acting and Your Personal Growth | |
| |
| |
Summary | |
| |
| |
| |
The Creative State Tension and Excessive Effort | |
| |
| |
Restful Alertness Experiencing Wholeness | |
| |
| |
Relaxation The Here and Now | |
| |
| |
Summary | |
| |
| |
| |
Centering, Moving, and Gesturing | |
| |
| |
The Pure Center and the Voice | |
| |
| |
The Actor s Use of Center Grounding | |
| |
| |
Your Changing Relationship to Gravity Phrasing Movement Gesture | |
| |
| |
The Genesis of Gesture | |
| |
| |
Summary | |
| |
| |
| |
Voice The Voice and Emotion | |
| |
| |
The Source of the Voice | |
| |
| |
The Cycle of Energy Tone Production | |
| |
| |
The Voice and Inner Dynamic | |
| |
| |
The Voice and Attitude Using Your Own Voice | |
| |
| |
Summary | |
| |
| |
| |
Speech | |
| |
| |
The Process of Speech Nasal Sounds | |
| |
| |
Oral Sounds: Vowels and Diphthongs | |
| |
| |
Oral Sounds: Consonants Projection Speech, Context, and Character | |
| |
| |
Further Training of Body and Voice | |
| |
| |
Summary | |
| |
| |
| |
Dramatic Language Text and Subtext | |
| |
| |
Word Choice Context | |
| |
| |
Rhythm Melody Imagery | |
| |
| |
Summary | |
| |
| |
| |
Working With Others | |
| |
| |
The Bodily Center and Relationship Commitment, Support, and Communication | |
| |
| |
Transaction and Teamwork | |
| |
| |
Summary | |
| |
| |
| |
The Path: Exploring Action | |
| |
| |
| |
The Flow and Shape of Dramatic Action Aristotle on Action | |
| |
| |
Action and Reaction: The Life of the Scene | |
| |
| |
The Shape of Drama | |
| |
| |
Drama and Conflict | |
| |
| |
Summary | |
| |
| |
| |
Action for the Actor | |
| |
| |
Action According To Stanislavski Action in Life | |
| |
| |
Internal and External Action Believability Indicating | |
| |
| |
Summary | |
| |
| |
| |
Action, Character, and Emotion Public Solitude | |
| |
| |
Dual Consciousness | |
| |
| |
Action and Character | |
| |
| |
Action and Emotion | |
| |
| |
Emotional Recall and Substitution | |
| |
| |
The Role of Emotion in Performance Personalization and the Magic if | |
| |
| |
Summary | |
| |
| |
| |
The Acting Process: Givens, Needs, Objectives, And Actions | |
| |
| |
A Scene of Your Own | |
| |
| |
The Given Circumstances Needs and Aspirations | |
| |
| |
Objectives Defining Productive | |
| |
| |
Objectives Defining Playable Actions: Verbs Automatic Actions | |
| |
| |
Summary | |
| |
| |
| |
Beats, Through-Line, And Superobjective | |
| |
| |
The Levels of Action Scene | |
| |
| |
Structure Breaking Down | |
| |
| |
The Scene | |
| |
| |
The Through-Line | |
| |
| |
The Superobjective | |
| |
| |
The Acting Process | |
| |
| |
Summary | |
| |
| |
| |
The Fruition: Preparing The Performance | |
| |
| |
| |
The Function and Elements of Character Functional and Likeness | |
| |
| |
Traits Physical | |
| |
| |
Traits Social Traits | |
| |
| |
A Note on Style Psychological Traits | |
| |
| |
Moral Traits Economy of Characterization | |
| |
| |
A Character Checklist | |
| |
| |
Summary | |
| |
| |
| |
The Character s Mind | |
| |
| |
The Instroke of Reaction Choice | |
| |
| |
Automatic Actions | |
| |
| |
Direct and Indirect Action | |
| |
| |
Not Doing: Suppression | |
| |
| |
The Character s Self-Image | |
| |
| |
Summary | |
| |
| |
| |
The Character s Body | |
| |
| |
The Character s Center | |
| |
| |
The Flow of Bodily Energy Physique and Personality Body Alignment and Character | |
| |
| |
Summary | |
| |
| |
| |
Rehearsing Auditions Preparations and Homework Early | |
| |
| |
Read-Throughs Exploring the Action Establishing the Score Communication in Rehearsals | |
| |
| |
You and Your Director Getting Off Book | |
| |
| |
Summary | |
| |
| |
| |
Staging | |