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