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| Preface | |
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| Acknowledgments | |
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| About The Author | |
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| Introduction | |
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| Influences | |
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| Students of Stanislavski: Strasberg, Chekhov, Meisner, et al 3 Gister | |
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| Who am I? | |
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| The Play As A Guide To Who Am I? | |
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| First Reading | |
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| Second Reading | |
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| Third Reading | |
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| The Imagination | |
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| Exercising Your Imagination | |
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| Transformation Into Character | |
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| Types | |
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| Stereotypes And Functional Characters | |
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| Real People | |
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| Anomalies | |
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| Narratives | |
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| Passions | |
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| Other Areas To Investigate | |
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| Body | |
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| Age | |
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| Movement | |
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| Voice | |
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| Challenges, Disorders, and Illnesses | |
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| Mannerisms and Habits | |
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| Emotion, Posture and Physical Expression | |
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| Relationships | |
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| Status | |
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| Race, Culture, and Nationality | |
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| Spirituality | |
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| Vulnerability | |
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| Discovery | |
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| Questions and Answers | |
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| Where am I? and When am I there? | |
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| Designers | |
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| Sources | |
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| The Play as a Guide to Establishing where Am I? | |
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| What Where am I? Means to You, as the Character | |
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| Some Areas To Investigate | |
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| Where am I? In The World | |
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| Where am I? In My Locale | |
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| Where am I? In My Immediate Space | |
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| What Does this Place Mean to Me, as the Who am I? | |
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| The Play as a Guide to Establishing when Am I There? | |
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| What when Am I There? Means to you, as the who Am I? | |
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| Preceding Time | |
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| Some Areas To Investigate | |
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| When am I there? in a Large Time Frame | |
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| When am I there? Within the Year | |
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| When am I there? Within the Span Of 24 Hours | |
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| What Does this Time Mean to Me as the Who am I? | |
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| Questions and Answers | |
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| What do I want? | |
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| Super-Objective and Objective | |
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| Action, Intention, and Motivation | |
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| Classical Plays | |
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| Modern Plays | |
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| Prior Knowledge | |
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| Articulating the Super-Objective and the Objective | |
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| Revealed Meaning | |
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| Stakes | |
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| Obstacles | |
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| A Word About Listening | |
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| What Do I Do After I Get or Fail to Get What I Want? | |
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| Questions and Answers | |
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| How Do I Get What I Want? | |
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| Some Common Definitions (And Why to Put Them Aside) | |
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| Action Defined in this Approach | |
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| The "How" of the Action | |
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| Using Actions with Images and Objects | |
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| Consequences of Playing an Action | |
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| Action is Anchored in the Objective | |
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| Action in Classical and Modern Plays | |
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| Action, Objective, Paradox, and the Present Moment | |
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| Questions and Answers | |
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| Putting It All Together | |
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| Getting Started | |
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| First Reading | |
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| Act I | |
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| Act II | |
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| Act III | |
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| Act IV | |
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| First Impressions | |
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| Second Reading | |
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| Third Reading | |
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| The Questions | |
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| The Title | |
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| Who am I? | |
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| Fictional or Real? | |
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| Three-Dimensional or Stereotype? | |
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| Passions (Likes, Dislikes, Loves, and Hates) | |
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| Body: Age | |
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| Body: Movement | |
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| Relationships | |
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| Relationships: Status | |
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| Relationship: Race, Culture, and Place of Origin | |
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| Where Am I? | |
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| When Am I There? | |
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| What Do I Want? | |
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| Super-Objective | |
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| Objectives | |
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| How Do I Get What I Want? | |
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| How of the Action | |
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| What Do I Do After I Get or Fail to Get What I Want? | |
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| Using this Approach to Analyze a Scene | |
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| The Text to be Analyzed: The Sea Gull, By Anton Chekhov, Act II, Nina and Treplev | |
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| Nina's Soliloquy Before the Scene Begins | |
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| Treplev's Entrance Disrupting Nina | |
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| Treplev's Short Monologue at the End of the Scene | |
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| Nina: Who am I? | |
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| Nina: Where Am I and When Am I there? | |
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| Nina: What Do I want? | |
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| The Scene Between Nina and Treplev | |
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| Personalization and Preparation for Nina | |
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| Personalization and Preparation for Treplev | |
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| Treplev: Who am I? | |
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| Treplev: Where am I? and When am I there? | |
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| Treplev: What do I want? | |
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| A Note About Transitions | |
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| Transition: Treplev Enters. | |
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| Beatl | |
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| Beat 2 | |
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| Beat 3 | |
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| Beat 4 | |
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| Beat 5 | |
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| Beat 6 | |
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| Beat 7 | |
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| Beat 8 | |
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| Beat 9 | |
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| Beat 10 | |
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| Beat 11 | |
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| Beat 12 | |
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| Beat 13 | |
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| Beat 14 | |
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| Beat 15 | |
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| Beat 16 | |
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| Beat 17 | |
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| Beat 18 | |
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| Nina: What do I do if I get or don't get what I want? | |
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| Treplev: What do I do if I get or don't get what I want? | |
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| Remembering it All: Marking Your Script | |
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| Preparation and Rehearsal | |
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| More Examples of Applying the Methodology | |
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| Yelena In Uncle Vanya by Anton Chekhov | |
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| Commentary | |
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| Reading One: Understanding the Story | |
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| Reading Two: Gathering the Facts | |
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| Reading Three: Yelena's Point of View | |
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| Who am I? | |
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| Where am I and When am I there? | |
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| What do I want? (super-objectve): | |
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| What do I want? (objective for this monologue): | |
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| Beat 2 | |
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| Beat 2 | |
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| Beat 3 | |
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| Beat 4 | |
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| Beat 5 | |
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| Beat 6 | |
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| Beat 7 | |
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| Beat 8 | |
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| Beat 9 | |
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| Beat 10 | |
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| Beat 11 | |
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| Beat 12 | |
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| Beat 13 | |
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| Beat 14 | |
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| Commentary | |
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| Emilia in Othello by William Shakespeare | |
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| Reading One: Understanding the Play | |
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| Reading Two: Gathering the Facts | |
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| Reading Three: Emilia's Point of View | |
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| Who am I? | |
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| Where am I and When am I there? | |
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| What do I want? | |
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| How do I get it? | |
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| Beat 1 | |
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| Beat 2 | |
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| Beat 3 | |
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| Beat 4 | |
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| Beat 5 | |
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| Commentary | |
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| Beat 6 | |
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| Beat 7 | |
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| Beat 8 | |
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| Male or Female in Sonnet Number One by William Shakespeare | |
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| Who am I? | |
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| Where am I and When am I there? | |
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| What do I want? | |
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| Beat 1 | |
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| Beat 2 | |
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| Beat 3 | |
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| Beat 4 | |
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| Beat 5 | |
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| Action on an Audience | |
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| Beat | |
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| Beat | |
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| Beat | |
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| Beat | |
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| Male or Female Using Lines From Savage/Love by Sam Shepard and Joseph Chaikin | |
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| Sample Exercise 1: Actions with Objectives | |
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| Sample Exercise 2: Actions and the Hows of the Actions Without Objectives | |
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| Sample Exercise 3: Solo Work | |
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| Creating Your Own Text | |
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| Conclusion | |
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| Action Word Lexicon | |
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| How of the Action Word Lexicon | |
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| Annotated Playlist | |
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| Works Cited | |
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| Index | |