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Preface | |
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Acknowledgements | |
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The Exercise | |
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Transcript of two actors doing a scene in class. Jeremiah interacts with them and guides them through the scene using the Five Arts | |
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Summary | |
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Actor Practice | |
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Stage versus Film Acting | |
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Preparing for a Role | |
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The Demands of Performance | |
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One Good Performance | |
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Projecting | |
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Film and Theater Close-Ups | |
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Emotions and Feelings | |
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Subtext | |
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Camera and Proscenium Arch | |
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Personality and Character | |
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Dialogue | |
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Monologues | |
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Film Experience versus Stage Experience | |
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Reacting | |
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Summary | |
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Actor Practice | |
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Becoming a Great Actor | |
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The Actor's Responsibility | |
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Casablanca | |
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Acting Is Being and Awareness | |
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The Five Arts of Film Acting | |
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The Power of Relating | |
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Acting "On the Nose" | |
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Listen to the Other Actor | |
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Acting Is a Profession | |
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Summary | |
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Actor Practice | |
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Sight Reading | |
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How Sight Reading Works | |
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How to Sight Read | |
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Importance of Sight Reading | |
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Second-Guessing the Director | |
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Multiple Auditions | |
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Helpful Hints | |
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Summary | |
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Actor Practice | |
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The Art of Concentration | |
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Concentration | |
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Internal Rap | |
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Interest Is the Focal Point of Concentration | |
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Feedback | |
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Emotions | |
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Happiness, Sadness, Anger, Fear, Love | |
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Differentiating between the Emotions | |
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Laughter and Sadness | |
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Focused Concentration | |
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How to Increase Your Concentration | |
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Summary | |
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Actor Practice | |
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The Art of Not Knowing | |
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Everything Happens As If for the First Time | |
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Being Intimate without Taking It Personally | |
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Beginner's Mind and Logical Mind | |
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After the Scene, Forget It | |
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Opinions and Beliefs Will Destroy You | |
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Play the Character, Not the Stereotype | |
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Judgment Is a Trap | |
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Leave Your Feelings on the Set | |
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Self-Criticism | |
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Use Your Beginner's Mind to Not Know | |
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Summary | |
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Actor Practice | |
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More on the Art of Not Knowing | |
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The First Time | |
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Bad Acting on Film Is the Triumph of Logic | |
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Don't Be Safe | |
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The Power of Not Knowing | |
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Memorizing and Not Knowing | |
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Repeating an Emotional Experience | |
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Discover Facts by Concentrating on the Other Actor | |
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Judgments Ruin Your Acting | |
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A Genuine Experience | |
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Summary | |
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Actor Practice | |
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Still More on the Art of Not Knowing | |
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The Director's Ideas | |
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Ideas and the Actors | |
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The Director's Vision | |
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Good Actors Make Things Happen | |
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Directors Use Blocking to Elicit Responses | |
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A Director's Scene Preparation | |
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Importance of the Art of Not Knowing | |
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Summary | |
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Actor Practice | |
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The Art of Acceptance | |
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Acceptance | |
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Play the Game | |
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Trust the Roller Coaster | |
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Having Fun | |
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Sets and Locations Are Real | |
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Summary | |
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Actor Practice | |
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The Art of Giving and Receiving | |
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Giving and Receiving | |
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Giving, Receiving, and Subtext | |
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Accepting Responsibility | |
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The Relating Exercise | |
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Different Emotional Levels | |
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There Are No Officially Sanctioned Responses | |
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Summary | |
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Actor Practice | |
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The Senses | |
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See through Untainted Eyes | |
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The Abilities | |
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The Maestro's Ears | |
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The Sense of Touch | |
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Touching to Relax | |
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Touching to Stimulate Love | |
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Touching to Provoke Anger | |
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Touching to Stimulate Laughter | |
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Smell and Taste | |
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Summary | |
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Actor Practice | |
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Intimacy, Empathy, and Intuition | |
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You Are What You Are: The First Ingredient of Intimacy | |
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Intimacy: The Quality of Good Actors | |
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Memory and Fear: The Enemies of Intimacy | |
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Empathy | |
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Intimacy and Empathy | |
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Scenes "Not Worthy" of an Actor | |
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Physical Actions | |
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Intuition: Your Sixth Sense | |
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The Creative Inner Child | |
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Words That Prevent Good Acting | |
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Act, Don't Think | |
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Summary | |
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Actor Practice | |
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The Audition | |
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Getting Ready to Audition | |
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Casting for Type | |
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Film and Stage Casting | |
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Auditioning | |
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Film Audition | |
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Acting in Plays | |
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Approaches to Acting | |
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Physical and Emotional Aspects of Characterization | |
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Imagination | |
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Subtext | |
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Types of Actors | |
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The Message You Send | |
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Summary | |
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Actor Practice | |
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More on the Audition | |
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The Casting Director | |
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The Job | |
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Acting Is a Business | |
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Why Actors Don't Get Cast | |
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The Differences between the Relating Exercise and the Audition | |
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The Art of Not Knowing | |
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The "Where." | |
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Sides | |
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Fear | |
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Relaxing | |
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Benefit of the Relating Exercise in Audition | |
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Skills for the Audition | |
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Preparation for Audition | |
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The Audition | |
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Commercial Improvisation | |
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Comedic Improvisation | |
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Dramatic Improvisation | |
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Summary | |
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Actor Practice | |
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The Comedy Audition | |
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Comedy and Exposition | |
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Characterization | |
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Absurd Situations | |
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Environment | |
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Comedy Patterns | |
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Auditioning for Comedy | |
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Find the Humor | |
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The Elements of Comedy | |
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Comic Actors | |
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Physical Comedy or Farce | |
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Punching and Undercutting | |
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Rhythm, Tempo, and Pacing | |
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Rehearsal | |
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Emotional Ideas | |
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Preparing for the Comedy Audition | |
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In the Audition | |
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Summary | |
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Actor Practice | |
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Conclusion | |
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How It Happens | |
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Summary | |
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Afterword | |
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How to Get in Touch with Jeremiah | |
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Bibliography | |
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Videography | |
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Index | |