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Preface | p. xi |
Background | |
Why the Theatre to Study Acting? | p. 3 |
Acting Students Today | p. 3 |
The Ravages of Mass Media | p. 6 |
Discovering All Your Actor's Roots | p. 7 |
Going to the Source | p. 8 |
Summary | p. 12 |
What Is Theatre? | p. 13 |
A Definition of Theatre | p. 13 |
The Performer | p. 16 |
The Performance | p. 18 |
The Audience | p. 19 |
Summary | p. 21 |
Stage Acting and Film Acting: Same Game, Different Surface | p. 23 |
Some Misconceptions about Stage and Screen Acting | p. 23 |
The Actor's Medium versus the Director's Medium | p. 25 |
Adjusting to Technical Demands | p. 29 |
Summary | p. 34 |
Inside Out, Outside In: From Stanislavski to Strasberg? | p. 37 |
Craft versus Art | p. 37 |
Technique: Stanislavski or Strasberg? | p. 38 |
Choosing Wisely | p. 43 |
Summary | p. 44 |
Advancing the Story | |
The Actor in Service of the Script | p. 47 |
Good Actors Tell the Story | p. 48 |
Finding the Conflict and Playing Objectives | p. 49 |
Building Dramatic Conflict | p. 51 |
Physical Actions: Beginnings, Middles, and Ends | p. 52 |
Telling Good Stories | p. 53 |
Using Each Other: Where the Story Lies | p. 55 |
Masters Doing the Basics | p. 56 |
Summary | p. 57 |
Given Circumstances and Playing the Action | p. 59 |
Given Circumstances | p. 59 |
The "Magic If" | p. 61 |
Learning the Score | p. 63 |
Action and Emotion | p. 67 |
"As Ifös | p. 68 |
Summary | p. 69 |
Acting with Conflict | p. 71 |
Using Conflict | p. 72 |
Finding the Story | p. 73 |
Types of Conflict | p. 75 |
Conflict to Objective | p. 76 |
Conflict and Character | p. 77 |
Summary | p. 78 |
Finding and Playing Objectives | p. 81 |
Actions Make Emotions | p. 81 |
Selection, Control, and Repeatability | p. 83 |
Playing the Dramatic Situation | p. 83 |
Discovering Objectives and Stakes | p. 85 |
Building the Story through Objectives | p. 88 |
Character through Actions: Tactics and Risk | p. 89 |
Simplicity and Playing the Positive | p. 90 |
Summary | p. 92 |
Listening and Staying In the Moment | p. 93 |
The Importance of Listening | p. 93 |
Improving Your Listening Ability | p. 95 |
Listening and Playing Objectives | p. 98 |
Summary | p. 102 |
Interpreting and Using Dialogue | p. 103 |
Contextual Meaning and Subtext | p. 104 |
The Importance of Subtext and Context | p. 106 |
Analyzing a Script to Tell the Story | p. 108 |
Summary | p. 113 |
Working with People, Places, and Things | p. 115 |
Relating to Things | p. 115 |
Categorizing | p. 122 |
Defining and Using the Space | p. 122 |
Defining and Using Relationships | p. 123 |
Summary | p. 124 |
Good Storytelling: Using Objectives and Circumstances Effectively | p. 125 |
Dialogue and Levels of Meaning | p. 126 |
Circumstances Define Story | p. 126 |
Dealing with Emotional Circumstances | p. 127 |
Objectives and Circumstances | p. 129 |
Using "As Ifös | p. 130 |
Actions from Emotions and Emotions from Actions | p. 131 |
Always Analyzing and Making Choices | p. 131 |
Summary | p. 134 |
Applying the Tools | |
Script Analysis: A Blueprint for Storytelling | p. 137 |
Reading for the Story | p. 138 |
Asking the Right Questions | p. 139 |
Dialogue Serving the Story | p. 141 |
Summary | p. 148 |
Rehearsing the Scene: Preparing for the First Read | p. 149 |
Choosing a Scene | p. 150 |
The First Read | p. 151 |
Using Improv | p. 155 |
Summary | p. 156 |
Rehearsing the Scene: Blocking and Working It | p. 157 |
Using Blocking to Tell the Story | p. 157 |
Playing in a Defined Space | p. 158 |
Movement | p. 159 |
Gestures | p. 161 |
Props and Business | p. 162 |
Working through the Scene | p. 164 |
Final Notes | p. 165 |
Summary | p. 166 |
Using the Words: Discovering and Telling the Story | p. 167 |
Elevated Language | p. 167 |
Using Literal, Contextual, and Sub textual Meaning | p. 174 |
Justifying the Lines | p. 182 |
Summary | p. 186 |
Taking the Script Apart and Putting It Together: A Review and Practice | |
A Review | p. 187 |
The Physical Aspects of Acting | p. 188 |
The Script | p. 188 |
Analysis | p. 194 |
Synthesis: Finding and Playing the Actions | p. 202 |
Summary | p. 203 |
Theatrical Conventions and Style | p. 205 |
Conventions and Believability | p. 208 |
Language and the Playwright's Style | p. 209 |
Types of Style | p. 211 |
The Roots of Style | p. 214 |
The World of "Realism" | p. 215 |
Some Concluding Thoughts about Style | p. 217 |
Summary | p. 217 |
Criticism | p. 219 |
Critiquing a Production | p. 221 |
Critiquing Work in Class | p. 225 |
Receiving Criticism Effectively | p. 227 |
Summary | p. 230 |
Putting the Pieces Together | |
Auditioning | p. 233 |
Casting | p. 233 |
Auditioning with a Scene | p. 236 |
Cold Readings | p. 237 |
Auditioning with a Monologue | p. 239 |
Performing the Audition | p. 245 |
Auditioning with a Song | p. 246 |
Summary | p. 249 |
Defining the Role | p. 251 |
Putting the Pieces Together | p. 251 |
Characters Serve the Play | p. 253 |
Research and Analysis | p. 254 |
Reading for the Author's Viewpoint | p. 255 |
Reading for the Audience's Viewpoint | p. 257 |
Reading for the Character's Viewpoint | p. 260 |
Summary | p. 263 |
Developing the Role: The Rehearsal Process | p. 265 |
The Arc or Throughline of Action | p. 265 |
Developing the Role through the Rehearsal Process | p. 271 |
Summary | p. 281 |
What You Need to Succeed | p. 283 |
Luck | p. 285 |
Knowing the Right People | p. 286 |
Money to Sustain You | p. 287 |
Looks and the Willingness to Recognize Yourself as a Commodity | p. 287 |
A Healthy Ego | p. 289 |
Patience | p. 291 |
Aggressiveness | p. 292 |
Avoiding Comparisons | p. 293 |
Talent and Training | p. 294 |
Summary | p. 295 |
Train Coming, by Alan Haehnel | p. 297 |
Acknowledgments | p. 305 |
Suggested Reading | p. 307 |
Glossary | p. 313 |
Bibliography | p. 321 |
Index | p. 323 |
Table of Contents provided by Ingram. All Rights Reserved. |
The New copy of this book will include any supplemental materials advertised. Please check the title of the book to determine if it should include any access cards, study guides, lab manuals, CDs, etc.
The Used, Rental and eBook copies of this book are not guaranteed to include any supplemental materials. Typically, only the book itself is included. This is true even if the title states it includes any access cards, study guides, lab manuals, CDs, etc.