Acting The Gister Method

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  • Edition: 1st
  • Format: Paperback
  • Copyright: 2012-01-19
  • Publisher: Pearson
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Debuting it its first edition, Acting: The Gister Methodmoves from the beginning process of establishing character and given circumstances, through Gister's unique principle of action, and into step-by-step examples of applying the ideas to plays, scenes and monologues. Along with a reader-friendly breakdown of the theoretical aspect of his method, the book contains many down-to-earth examples of experimenting and playing via the imagination and of putting the methods to work in real-life rehearsal and theatre situations.

Table of Contents

Prefacep. xiii
Acknowledgmentsp. xv
About The Authorp. xvii
Introductionp. 1
Influencesp. 2
Students of Stanislavski: Strasberg, Chekhov, Meisner, et al 3 Gisterp. 3
Who am I?p. 7
The Play As A Guide To Who Am I?p. 8
First Readingp. 8
Second Readingp. 8
Third Readingp. 9
The Imaginationp. 12
Exercising Your Imaginationp. 12
Transformation Into Characterp. 13
Typesp. 14
Stereotypes And Functional Charactersp. 14
Real Peoplep. 15
Anomaliesp. 16
Narrativesp. 17
Passionsp. 19
Other Areas To Investigatep. 21
Bodyp. 22
Agep. 22
Movementp. 23
Voicep. 23
Challenges, Disorders, and Illnessesp. 23
Mannerisms and Habitsp. 24
Emotion, Posture and Physical Expressionp. 24
Relationshipsp. 25
Statusp. 26
Race, Culture, and Nationalityp. 27
Spiritualityp. 28
Vulnerabilityp. 29
Discoveryp. 29
Questions and Answersp. 30
Where am I? and When am I there?p. 32
Designersp. 32
Sourcesp. 33
The Play as a Guide to Establishing where Am I?p. 36
What Where am I? Means to You, as the Characterp. 38
Some Areas To Investigatep. 39
Where am I? In The Worldp. 40
Where am I? In My Localep. 40
Where am I? In My Immediate Spacep. 40
What Does this Place Mean to Me, as the Who am I?p. 41
The Play as a Guide to Establishing when Am I There?p. 41
What when Am I There? Means to you, as the who Am I?p. 43
Preceding Timep. 43
Some Areas To Investigatep. 45
When am I there? in a Large Time Framep. 45
When am I there? Within the Yearp. 45
When am I there? Within the Span Of 24 Hoursp. 46
What Does this Time Mean to Me as the Who am I?p. 46
Questions and Answersp. 47
What do I want?p. 49
Super-Objective and Objectivep. 49
Action, Intention, and Motivationp. 50
Classical Playsp. 52
Modern Playsp. 53
Prior Knowledgep. 54
Articulating the Super-Objective and the Objectivep. 55
Revealed Meaningp. 57
Stakesp. 58
Obstaclesp. 58
A Word About Listeningp. 59
What Do I Do After I Get or Fail to Get What I Want?p. 59
Questions and Answersp. 60
How Do I Get What I Want?p. 63
Some Common Definitions (And Why to Put Them Aside)p. 63
Action Defined in this Approachp. 64
The "How" of the Actionp. 66
Using Actions with Images and Objectsp. 68
Consequences of Playing an Actionp. 68
Action is Anchored in the Objectivep. 69
Action in Classical and Modern Playsp. 70
Action, Objective, Paradox, and the Present Momentp. 71
Questions and Answersp. 72
Putting It All Togetherp. 75
Getting Startedp. 75
First Readingp. 76
Act Ip. 77
Act IIp. 77
Act IIIp. 77
Act IVp. 77
First Impressionsp. 78
Second Readingp. 78
Third Readingp. 79
The Questionsp. 80
The Titlep. 80
Who am I?p. 81
Fictional or Real?p. 82
Three-Dimensional or Stereotype?p. 82
Passions (Likes, Dislikes, Loves, and Hates)p. 82
Body: Agep. 83
Body: Movementp. 84
Relationshipsp. 84
Relationships: Statusp. 85
Relationship: Race, Culture, and Place of Originp. 86
Where Am I?p. 86
When Am I There?p. 87
What Do I Want?p. 88
Super-Objectivep. 89
Objectivesp. 90
How Do I Get What I Want?p. 90
How of the Actionp. 91
What Do I Do After I Get or Fail to Get What I Want?p. 91
Using this Approach to Analyze a Scenep. 92
The Text to be Analyzed: The Sea Gull, By Anton Chekhov, Act II, Nina and Treplevp. 92
Nina's Soliloquy Before the Scene Beginsp. 92
Treplev's Entrance Disrupting Ninap. 93
Treplev's Short Monologue at the End of the Scenep. 93
Nina: Who am I?p. 94
Nina: Where Am I and When Am I there?p. 94
Nina: What Do I want?p. 94
The Scene Between Nina and Treplevp. 96
Personalization and Preparation for Ninap. 96
Personalization and Preparation for Treplevp. 97
Treplev: Who am I?p. 98
Treplev: Where am I? and When am I there?p. 98
Treplev: What do I want?p. 98
A Note About Transitionsp. 98
Transition: Treplev Enters.p. 100
Beatlp. 100
Beat 2p. 101
Beat 3p. 101
Beat 4p. 102
Beat 5p. 103
Beat 6p. 103
Beat 7p. 103
Beat 8p. 104
Beat 9p. 104
Beat 10p. 105
Beat 11p. 105
Beat 12p. 106
Beat 13p. 106
Beat 14p. 107
Beat 15p. 108
Beat 16p. 108
Beat 17p. 109
Beat 18p. 109
Nina: What do I do if I get or don't get what I want?p. 110
Treplev: What do I do if I get or don't get what I want?p. 110
Remembering it All: Marking Your Scriptp. 110
Preparation and Rehearsalp. 113
More Examples of Applying the Methodologyp. 115
Yelena In Uncle Vanya by Anton Chekhovp. 116
Commentaryp. 116
Reading One: Understanding the Storyp. 117
Reading Two: Gathering the Factsp. 117
Reading Three: Yelena's Point of Viewp. 118
Who am I?p. 118
Where am I and When am I there?p. 119
What do I want? (super-objectve):p. 119
What do I want? (objective for this monologue):p. 119
Beat 2p. 119
Beat 2p. 120
Beat 3p. 120
Beat 4p. 120
Beat 5p. 120
Beat 6p. 120
Beat 7p. 121
Beat 8p. 121
Beat 9p. 121
Beat 10p. 121
Beat 11p. 121
Beat 12p. 122
Beat 13p. 122
Beat 14p. 122
Commentaryp. 122
Emilia in Othello by William Shakespearep. 123
Reading One: Understanding the Playp. 123
Reading Two: Gathering the Factsp. 123
Reading Three: Emilia's Point of Viewp. 124
Who am I?p. 124
Where am I and When am I there?p. 125
What do I want?p. 125
How do I get it?p. 125
Beat 1p. 125
Beat 2p. 126
Beat 3p. 126
Beat 4p. 126
Beat 5p. 126
Commentaryp. 126
Beat 6p. 127
Beat 7p. 127
Beat 8p. 127
Male or Female in Sonnet Number One by William Shakespearep. 127
Who am I?p. 129
Where am I and When am I there?p. 129
What do I want?p. 129
Beat 1p. 130
Beat 2p. 130
Beat 3p. 130
Beat 4p. 130
Beat 5p. 131
Action on an Audiencep. 131
Beatp. 132
Beatp. 132
Beatp. 132
Beatp. 133
Male or Female Using Lines From Savage/Love by Sam Shepard and Joseph Chaikinp. 133
Sample Exercise 1: Actions with Objectivesp. 134
Sample Exercise 2: Actions and the Hows of the Actions Without Objectivesp. 134
Sample Exercise 3: Solo Workp. 134
Creating Your Own Textp. 135
Conclusionp. 137
Action Word Lexiconp. 139
How of the Action Word Lexiconp. 143
Annotated Playlistp. 147
Works Citedp. 161
Indexp. 163
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