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| List of Exercises | |
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| Preface | |
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| The Ground: Preparing Yourself | |
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| The Exercises and In-Class Performances | |
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| A Note On Discipline | |
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| The Actor | |
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| In You The Skills Of The Actor | |
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| The Tradition Of The Actor | |
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| The Modern Period Acting and Your Personal Growth | |
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| Summary | |
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| The Creative State Tension and Excessive Effort | |
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| Restful Alertness Experiencing Wholeness | |
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| Relaxation The Here and Now | |
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| Summary | |
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| Centering, Moving, and Gesturing | |
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| The Pure Center and the Voice | |
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| The Actor s Use of Center Grounding | |
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| Your Changing Relationship to Gravity Phrasing Movement Gesture | |
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| The Genesis of Gesture | |
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| Summary | |
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| Voice The Voice and Emotion | |
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| The Source of the Voice | |
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| The Cycle of Energy Tone Production | |
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| The Voice and Inner Dynamic | |
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| The Voice and Attitude Using Your Own Voice | |
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| Summary | |
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| Speech | |
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| The Process of Speech Nasal Sounds | |
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| Oral Sounds: Vowels and Diphthongs | |
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| Oral Sounds: Consonants Projection Speech, Context, and Character | |
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| Further Training of Body and Voice | |
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| Summary | |
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| Dramatic Language Text and Subtext | |
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| Word Choice Context | |
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| Rhythm Melody Imagery | |
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| Summary | |
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| Working With Others | |
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| The Bodily Center and Relationship Commitment, Support, and Communication | |
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| Transaction and Teamwork | |
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| Summary | |
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| The Path: Exploring Action | |
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| The Flow and Shape of Dramatic Action Aristotle on Action | |
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| Action and Reaction: The Life of the Scene | |
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| The Shape of Drama | |
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| Drama and Conflict | |
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| Summary | |
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| Action for the Actor | |
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| Action According To Stanislavski Action in Life | |
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| Internal and External Action Believability Indicating | |
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| Summary | |
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| Action, Character, and Emotion Public Solitude | |
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| Dual Consciousness | |
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| Action and Character | |
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| Action and Emotion | |
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| Emotional Recall and Substitution | |
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| The Role of Emotion in Performance Personalization and the Magic if | |
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| Summary | |
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| The Acting Process: Givens, Needs, Objectives, And Actions | |
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| A Scene of Your Own | |
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| The Given Circumstances Needs and Aspirations | |
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| Objectives Defining Productive | |
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| Objectives Defining Playable Actions: Verbs Automatic Actions | |
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| Summary | |
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| Beats, Through-Line, And Superobjective | |
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| The Levels of Action Scene | |
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| Structure Breaking Down | |
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| The Scene | |
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| The Through-Line | |
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| The Superobjective | |
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| The Acting Process | |
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| Summary | |
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| The Fruition: Preparing The Performance | |
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| The Function and Elements of Character Functional and Likeness | |
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| Traits Physical | |
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| Traits Social Traits | |
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| A Note on Style Psychological Traits | |
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| Moral Traits Economy of Characterization | |
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| A Character Checklist | |
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| Summary | |
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| The Character s Mind | |
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| The Instroke of Reaction Choice | |
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| Automatic Actions | |
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| Direct and Indirect Action | |
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| Not Doing: Suppression | |
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| The Character s Self-Image | |
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| Summary | |
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| The Character s Body | |
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| The Character s Center | |
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| The Flow of Bodily Energy Physique and Personality Body Alignment and Character | |
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| Summary | |
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| Rehearsing Auditions Preparations and Homework Early | |
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| Read-Throughs Exploring the Action Establishing the Score Communication in Rehearsals | |
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| You and Your Director Getting Off Book | |
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| Summary | |
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| Staging | |