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| Notes on This Fifth Edition | |
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| Preface | |
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| About the Author | |
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| Preparing Yourself to Act | |
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| Understanding the Actor's Job | |
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| Engagement | |
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| Truthfulness | |
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| Skill | |
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| Dramatic Function | |
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| Discipline | |
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| Summary of Step 1 | |
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| The Tradition of the Actor | |
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| The Twentieth Century | |
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| Getting into the Tradition | |
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| Summary of Step 2 | |
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| Relaxing and Centering | |
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| Relaxation | |
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| Finding the Center | |
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| Summary of Step 3 | |
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| Breathing, Sounding, and Moving From the Center | |
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| The Cycle of Energy | |
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| Relationship to Gravity | |
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| Phrasing Movement | |
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| Summary of Step 4 | |
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| Collaboration | |
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| Leading and Following | |
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| Seeing and Hearing | |
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| Getting and Giving Notes | |
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| Summary of Step 5 | |
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| Summary of part one | |
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| Discovering Action | |
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| Example Plays | |
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| Actions and Objectives | |
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| Stanislavski's View of Action | |
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| Public Solitude | |
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| Dual Consciousness | |
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| Indicating | |
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| Raising the Stakes | |
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| Summary of Step 6 | |
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| Action, Emotion, and Character: the Magic If | |
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| Action and Emotion | |
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| Character and the Magic If | |
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| The Actor in You | |
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| Selecting Your Scene | |
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| Dramatic Function Revisited | |
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| Summary of Step 7 | |
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| Defining Objectives and Actions | |
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| Defining Useful Objectives | |
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| Playable Strategic Actions | |
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| Subtext | |
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| Not Doing | |
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| Obstacles and Counteractions | |
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| Summary of Step 8 | |
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| The Flow and Shape of Drama | |
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| Internal and External Action | |
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| The Shape of Drama | |
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| Crisis | |
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| Summary of Step 9 | |
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| Exploring Scene Structure and the given Circumstances | |
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| Units of Action, or Beats | |
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| The Given Circumstances | |
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| Summary of Step 10 | |
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| Summary of part two | |
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| Developing the Character | |
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| The Character's Traits and Needs | |
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| Function Traits | |
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| Recognition Traits | |
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| Needs and Personalization | |
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| Emotion Recall and Substitution | |
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| Summary of Step 11 | |
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| Getting into the Character's Mind | |
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| Perception, Arousal, and Attitude | |
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| Automatic and Spontaneous Actions | |
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| Deliberation and Strategic Choice | |
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| The Inner Monologue | |
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| Summary of Step 12 | |
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| Exploring the Character's Language | |
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| Word Choice | |
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| Rhythm | |
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| The Music of Speech | |
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| Summary of Step 13 | |
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| Summary of part three | |
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| Final Rehearsals and Performance | |
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| Finding the Scenario, Score, Through-Line, and Superobjective | |
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| The Score and Pace | |
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| The Through-Line and Superobjective | |
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| Personalizing the Superobjective | |
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| Summary of Step 14 | |
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| Staging | |
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| Types of Stages | |
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| Moving on Stage | |
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| Blocking | |
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| Shaping and Pacing | |
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| Summary of Step 15 | |
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| Performing | |
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| Emotion in Performance | |
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| Spontaneity | |
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| Evaluating Your Work | |
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| Growth After Opening | |
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| An Actor's Sense of Purpose | |
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| Summary of Step 16 | |
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| Summary of part four | |
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| A Sample Television Scene | |
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| Suggested Plays and Anthologies | |
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| Plays | |
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| Play and Scene Anthologies | |
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| Anthologies for Students of Color | |
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| Glossary of Theater and Film Terminology | |
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| Index | |