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Preface | |
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Background | |
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Why the Theatre to Study Acting? | |
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Acting Students Today | |
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The Ravages of Mass Media | |
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Discovering All Your Actor's Roots | |
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Going to the Source | |
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Summary | |
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What Is Theatre? | |
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A Definition of Theatre | |
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The Performer | |
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The Performance | |
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The Audience | |
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Summary | |
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Stage Acting and Film Acting: Same Game, Different Surface | |
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Some Misconceptions about Stage and Screen Acting | |
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The Actor's Medium versus the Director's Medium | |
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Adjusting to Technical Demands | |
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Summary | |
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Inside Out, Outside In: From Stanislavski to Strasberg? | |
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Craft versus Art | |
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Technique: Stanislavski or Strasberg? | |
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Choosing Wisely | |
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Summary | |
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Advancing the Story | |
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The Actor in Service of the Script | |
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Good Actors Tell the Story | |
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Finding the Conflict and Playing Objectives | |
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Building Dramatic Conflict | |
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Physical Actions: Beginnings, Middles, and Ends | |
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Telling Good Stories | |
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Using Each Other: Where the Story Lies | |
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Masters Doing the Basics | |
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Summary | |
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Given Circumstances and Playing the Action | |
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Given Circumstances | |
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The "Magic If" | |
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Learning the Score | |
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Action and Emotion | |
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"As If�s | |
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Summary | |
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Acting with Conflict | |
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Using Conflict | |
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Finding the Story | |
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Types of Conflict | |
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Conflict to Objective | |
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Conflict and Character | |
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Summary | |
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Finding and Playing Objectives | |
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Actions Make Emotions | |
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Selection, Control, and Repeatability | |
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Playing the Dramatic Situation | |
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Discovering Objectives and Stakes | |
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Building the Story through Objectives | |
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Character through Actions: Tactics and Risk | |
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Simplicity and Playing the Positive | |
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Summary | |
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Listening and Staying In the Moment | |
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The Importance of Listening | |
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Improving Your Listening Ability | |
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Listening and Playing Objectives | |
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Summary | |
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Interpreting and Using Dialogue | |
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Contextual Meaning and Subtext | |
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The Importance of Subtext and Context | |
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Analyzing a Script to Tell the Story | |
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Summary | |
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Working with People, Places, and Things | |
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Relating to Things | |
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Categorizing | |
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Defining and Using the Space | |
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Defining and Using Relationships | |
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Summary | |
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Good Storytelling: Using Objectives and Circumstances Effectively | |
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Dialogue and Levels of Meaning | |
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Circumstances Define Story | |
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Dealing with Emotional Circumstances | |
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Objectives and Circumstances | |
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Using "As If�s | |
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Actions from Emotions and Emotions from Actions | |
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Always Analyzing and Making Choices | |
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Summary | |
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Applying the Tools | |
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Script Analysis: A Blueprint for Storytelling | |
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Reading for the Story | |
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Asking the Right Questions | |
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Dialogue Serving the Story | |
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Summary | |
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Rehearsing the Scene: Preparing for the First Read | |
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Choosing a Scene | |
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The First Read | |
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Using Improv | |
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Summary | |
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Rehearsing the Scene: Blocking and Working It | |
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Using Blocking to Tell the Story | |
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Playing in a Defined Space | |
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Movement | |
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Gestures | |
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Props and Business | |
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Working through the Scene | |
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Final Notes | |
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Summary | |
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Using the Words: Discovering and Telling the Story | |
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Elevated Language | |
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Using Literal, Contextual, and Sub textual Meaning | |
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Justifying the Lines | |
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Summary | |
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Taking the Script Apart and Putting It Together: A Review and Practice | |
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A Review | |
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The Physical Aspects of Acting | |
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The Script | |
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Analysis | |
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Synthesis: Finding and Playing the Actions | |
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Summary | |
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Theatrical Conventions and Style | |
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Conventions and Believability | |
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Language and the Playwright's Style | |
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Types of Style | |
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The Roots of Style | |
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The World of "Realism" | |
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Some Concluding Thoughts about Style | |
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Summary | |
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Criticism | |
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Critiquing a Production | |
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Critiquing Work in Class | |
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Receiving Criticism Effectively | |
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Summary | |
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Putting the Pieces Together | |
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Auditioning | |
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Casting | |
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Auditioning with a Scene | |
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Cold Readings | |
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Auditioning with a Monologue | |
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Performing the Audition | |
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Auditioning with a Song | |
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Summary | |
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Defining the Role | |
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Putting the Pieces Together | |
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Characters Serve the Play | |
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Research and Analysis | |
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Reading for the Author's Viewpoint | |
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Reading for the Audience's Viewpoint | |
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Reading for the Character's Viewpoint | |
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Summary | |
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Developing the Role: The Rehearsal Process | |
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The Arc or Throughline of Action | |
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Developing the Role through the Rehearsal Process | |
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Summary | |
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What You Need to Succeed | |
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Luck | |
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Knowing the Right People | |
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Money to Sustain You | |
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Looks and the Willingness to Recognize Yourself as a Commodity | |
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A Healthy Ego | |
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Patience | |
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Aggressiveness | |
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Avoiding Comparisons | |
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Talent and Training | |
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Summary | |
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Train Coming, by Alan Haehnel | |
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Acknowledgments | |
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Suggested Reading | |
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Glossary | |
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Bibliography | |
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Index | |