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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 | |