| |
| |
| Foreword: Thoughts about Stanislavsky and Acting Today | |
| |
| |
| |
| Preface: The Need for This Book | |
| |
| |
| Acknowledgments | |
| |
| |
| |
| Acting and Current Working Conditions | |
| |
| |
| |
| The Stanislavsky System Explored | |
| |
| |
| |
| Why Rehearse? | |
| |
| |
| Commitment and Practicing Alone | |
| |
| |
| Rehearsing Scenes for Class | |
| |
| |
| |
| Film and Television: The End of Rehearsal | |
| |
| |
| Television Commercials | |
| |
| |
| Soap Opera and Nighttime Television Drama | |
| |
| |
| The Situation Comedy (Sitcom) | |
| |
| |
| |
| Rehearsing on Your Own | |
| |
| |
| Introduction Developing the Process | |
| |
| |
| Impulses and Instincts | |
| |
| |
| Concentration and Relaxation | |
| |
| |
| Substitution and Endowment | |
| |
| |
| |
| Step 1: How to Read the Script | |
| |
| |
| Finding the Themes | |
| |
| |
| Finding the Playwright's Music | |
| |
| |
| |
| Step 2: Developing the Relationships | |
| |
| |
| First Readings | |
| |
| |
| Revealing the Subtext | |
| |
| |
| |
| Step 3: Paying Attention to the Inner Objects | |
| |
| |
| |
| Step 4: Finding the Objective | |
| |
| |
| |
| Step 5: Following Up on Place and Circumstances: The Here and Now | |
| |
| |
| Place | |
| |
| |
| Circumstances | |
| |
| |
| |
| Step 6: Planning the Activity | |
| |
| |
| |
| Step 7: Delving into the Prior Relationship | |
| |
| |
| |
| Step 8: The Character Chart, Part 1: Writing a Preliminary Character Background | |
| |
| |
| Introduction | |
| |
| |
| Background Questions | |
| |
| |
| |
| Step 9: The Character Chart, Part 2: Deciding on the Character Traits | |
| |
| |
| More about Negative Character Traits | |
| |
| |
| Two Exercises | |
| |
| |
| |
| Step 10: The Character Chart, Part 3: Life Drives | |
| |
| |
| |
| Step 11: Becoming the Character | |
| |
| |
| Essences | |
| |
| |
| Complete Character Charts | |
| |
| |
| |
| The Steps Condensed When You Have No Time: My Experience in the Media | |
| |
| |
| |
| The Ideal and the Practical: Working in Film and Television | |
| |
| |
| |
| The Director and the Camera | |
| |
| |
| Camera Takes and How to Deal With Them | |
| |
| |
| Working with Directors: Translating the Director's Language | |
| |
| |
| Chapter 17 Auditions | |
| |
| |
| Plays | |
| |
| |
| Film | |
| |
| |
| Television | |
| |
| |
| Prepared Monologues | |
| |
| |
| A Parting Word | |
| |
| |
| Glossary of Acting Terms | |
| |
| |
| Bibliography | |
| |
| |
| Index of People | |
| |
| |
| Index of Films and Television Programs | |
| |
| |
| Index of Plays | |
| |
| |
| About the Author and Collaborator | |