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| Preface | |
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| Preparation for Acting | |
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| Preparing to Act Relaxation | |
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| Relaxation | |
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| Trust | |
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| Spine Lengthening | |
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| Exuberance | |
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| BAM-POW, Dance, Sing | |
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| Discipline | |
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| Criticism | |
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| A Playful Attitude | |
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| Freedom | |
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| Preparation | |
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| What Is Acting? | |
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| Pledge Your Allegiance to a Flag | |
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| The Actor''s Approach | |
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| Goal and Obstacle Fundamental Principle | |
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| Reaching | |
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| Reaching for Goals | |
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| Overcoming an Obstacle | |
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| Self-Consciousness | |
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| Doing vs. Being | |
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| Projection | |
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| Resonating | |
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| Resonating (A Continuation) | |
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| Goals | |
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| Acting with the ''Other'' The Other | |
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| Making Your Partner Smile | |
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| Interactive Dynamics | |
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| Vulnerability | |
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| Discovery | |
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| The Character | |
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| Tactics | |
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| Using Tactics | |
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| One Two Three Four Five Six Seven | |
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| Monologues | |
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| Inventing the Other | |
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| Beginning to Act Contentless Scene | |
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| Contentless Scene I | |
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| Intensifiers | |
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| Intensifying | |
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| Physicalizers | |
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| Varying Locale or Action | |
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| Contentless Scene II | |
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| Tactics Punishment and Reward | |
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| Playing Tactics | |
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| Frighten Your Partner | |
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| Building Intensity | |
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| Try to Make Your Partner Cry | |
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| Movement and Contact | |
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| Encourage Your Partner | |
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| Alternating Tactics | |
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| Mixing Tactics | |
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| The Middle Ranges | |
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| Eliminating the Extremes | |
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| Expectations Expecting Victory | |
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| Playing Bored | |
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| Positive Goals | |
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| Enthusiasm | |
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| Try the Impossible | |
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| Eye Contact | |
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| Tactics and Expectations | |
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| GOTE A Basic Method | |
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| "Get Your Character''s GOTE" | |
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| The GOTEsheet | |
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| The Actor''s Task | |
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| Preparing a Role Finding Your Role | |
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| Finding Your ''Character'' | |
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| Editing a Scene | |
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| Memorization Methods | |
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| Cues | |
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| Studying the Part | |
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| The Gentleman Caller I | |
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| Rehearsing Rehearsals | |
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| Undirected Rehearsals | |
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| Rehearsal Alternatives | |
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| The Gentleman Caller II | |
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| Staging the Scene Stage Directions | |
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| Creating the Locale | |
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| Movement and Stage Business | |
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| Interesting Positions | |
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| Reaching the Audience | |
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| Setting the Stage | |
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| Choices The Need for Choices | |
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| Good Choices | |
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| Bold Choices | |
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| Performing Stage Fright | |
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| Classroom Performance | |
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| Play for Results--In the Other Character | |
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| Evaluation and Improvement Helpful Criticism | |
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| Reworking | |
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| Scene Presentation | |
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| The Actor''s Instrument | |
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| The Actor''s Voice Breathing | |
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| Breathing from the Abdomen | |
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| Phonation: Making Sounds | |
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| Sounding | |
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| Resonance | |
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| Exploring Resonance | |
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| Pitch | |
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| Exploring Your Pitch Range | |
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| A Stageworthy Voice | |
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| Speaking with Resonance | |
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| Stage Speech Good Diction | |
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| Speech Sounds | |
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| Vowels | |
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| Repeating Syllables | |
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| Consonants | |
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| Speeches | |
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| Using the Voice Liberation | |
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| Rude Chants | |
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| Rude Cheering | |
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| Fancy Talk | |
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| Address a Group | |
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| Purposefulness | |
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| Adding Purpose | |
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| The Actor''s Body Agility | |
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| Fast Warm-Up | |
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| Alignment | |
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| Improving Alignment | |
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| Walking | |
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| Sixteen Walks | |
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| Walk and Talk | |
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| Sitting and Standing | |
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| Walk, Talk, Sit | |
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| Velocity: Accelerating, Decelerating, and Constant | |
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| Acceleration/Deceleration | |
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| Counterpoise | |
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| Contraposto | |
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| Contraction/Extension | |
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| The Dynamics of Effort | |
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| Distinct Movements | |
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| To Be or Not to Be | |
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| Walking and Kicking | |
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| Voice and Body Integration Coordination | |
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| Commands | |
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| Speeches with Business | |
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| Physical Punctuation | |
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| Physical Rhythms | |
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| Verbal Rhythms | |
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| Pointing | |
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| Pointing | |
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| Tempo | |
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| Speech/Movement Timing | |
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| Actors with Disabilities | |
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| Imagination and Discipline Fantasy | |
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| Self-Exploration | |
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| Cold/Hot | |
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| Age Regression/Advancement | |
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| Facing an Imagined Death | |
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| Facing Love | |
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| Discipline | |
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| Emotion and Acting Theory Exercise 21-1 Playing (with) Real Emotion I | |
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| Self-Consciousness | |
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| Playing (with) Real Emotion II | |
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| Conclusion | |
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| The Actor''s Technique | |
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| Phrasing Diction | |
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| Open-Mouthed Speaking | |
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| A Acting with Your Teeth | |
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| B | |
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| C | |
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| Developing Diction | |
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| Repeated Sentences | |
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| Shaw Speech | |
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| Emphasis | |
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| Change of Emphasis | |
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| Punctuate with Emphasis | |
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| Inflection | |
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| Inflections | |
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| Phrasing | |
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| Attack The First Word | |
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| Physical Attack | |
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| Turn-Taking | |
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| Turn-Taking Dialog | |
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| Preparing Strong Attacks | |
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| Action Cues | |
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| Follow-Through The Hook | |
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| Questions as Questions | |
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| Statements as Questions | |
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| Making Questions | |
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| Statements as Statements | |
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| Argument-Enders | |
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| Trail-offs | |
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| Line Linkage Analyzing Dialog | |
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| Rising End-Inflections | |
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| Falling End-Inflections | |
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| Attack Inflections | |
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| Pauses | |
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| Long Speeches | |
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| Line Linking | |
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| The Long Speech | |
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| Line Linking in Practice | |
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| Scene Structure Breaking Down a Script | |
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| Choosing a Scene to Do in Class | |
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| Structural Characteristics | |
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| Transitions | |
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| Scene Breakdown | |
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| Scene Structure in Action | |
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| Building a Scene Building and Topping | |
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| Standard Build I | |
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| Standard Build II | |
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| Standard Build III | |
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| Cutting Back | |
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| Getting on Top | |
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| Pacing a Build | |
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| Complex Builds | |
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| I Detest Monday | |
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| I Detest January | |
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| Come Here | |
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| Building Moli�re | |
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| Creating a Monologue Going It Alone | |
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| The Monologue to Someone Else | |
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| The Soliloquy | |
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| Playing a Monologue or Soliloquy | |
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| Prepare a Monologue L''Envoi | |
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| Glossary | |
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| Index | |