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