Preface | p. xiii |
Acknowledgments | p. xv |
About The Author | p. xvii |
Introduction | p. 1 |
Influences | p. 2 |
Students of Stanislavski: Strasberg, Chekhov, Meisner, et al 3 Gister | p. 3 |
Who am I? | p. 7 |
The Play As A Guide To Who Am I? | p. 8 |
First Reading | p. 8 |
Second Reading | p. 8 |
Third Reading | p. 9 |
The Imagination | p. 12 |
Exercising Your Imagination | p. 12 |
Transformation Into Character | p. 13 |
Types | p. 14 |
Stereotypes And Functional Characters | p. 14 |
Real People | p. 15 |
Anomalies | p. 16 |
Narratives | p. 17 |
Passions | p. 19 |
Other Areas To Investigate | p. 21 |
Body | p. 22 |
Age | p. 22 |
Movement | p. 23 |
Voice | p. 23 |
Challenges, Disorders, and Illnesses | p. 23 |
Mannerisms and Habits | p. 24 |
Emotion, Posture and Physical Expression | p. 24 |
Relationships | p. 25 |
Status | p. 26 |
Race, Culture, and Nationality | p. 27 |
Spirituality | p. 28 |
Vulnerability | p. 29 |
Discovery | p. 29 |
Questions and Answers | p. 30 |
Where am I? and When am I there? | p. 32 |
Designers | p. 32 |
Sources | p. 33 |
The Play as a Guide to Establishing where Am I? | p. 36 |
What Where am I? Means to You, as the Character | p. 38 |
Some Areas To Investigate | p. 39 |
Where am I? In The World | p. 40 |
Where am I? In My Locale | p. 40 |
Where am I? In My Immediate Space | p. 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 Time | p. 43 |
Some Areas To Investigate | p. 45 |
When am I there? in a Large Time Frame | p. 45 |
When am I there? Within the Year | p. 45 |
When am I there? Within the Span Of 24 Hours | p. 46 |
What Does this Time Mean to Me as the Who am I? | p. 46 |
Questions and Answers | p. 47 |
What do I want? | p. 49 |
Super-Objective and Objective | p. 49 |
Action, Intention, and Motivation | p. 50 |
Classical Plays | p. 52 |
Modern Plays | p. 53 |
Prior Knowledge | p. 54 |
Articulating the Super-Objective and the Objective | p. 55 |
Revealed Meaning | p. 57 |
Stakes | p. 58 |
Obstacles | p. 58 |
A Word About Listening | p. 59 |
What Do I Do After I Get or Fail to Get What I Want? | p. 59 |
Questions and Answers | p. 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 Approach | p. 64 |
The "How" of the Action | p. 66 |
Using Actions with Images and Objects | p. 68 |
Consequences of Playing an Action | p. 68 |
Action is Anchored in the Objective | p. 69 |
Action in Classical and Modern Plays | p. 70 |
Action, Objective, Paradox, and the Present Moment | p. 71 |
Questions and Answers | p. 72 |
Putting It All Together | p. 75 |
Getting Started | p. 75 |
First Reading | p. 76 |
Act I | p. 77 |
Act II | p. 77 |
Act III | p. 77 |
Act IV | p. 77 |
First Impressions | p. 78 |
Second Reading | p. 78 |
Third Reading | p. 79 |
The Questions | p. 80 |
The Title | p. 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: Age | p. 83 |
Body: Movement | p. 84 |
Relationships | p. 84 |
Relationships: Status | p. 85 |
Relationship: Race, Culture, and Place of Origin | p. 86 |
Where Am I? | p. 86 |
When Am I There? | p. 87 |
What Do I Want? | p. 88 |
Super-Objective | p. 89 |
Objectives | p. 90 |
How Do I Get What I Want? | p. 90 |
How of the Action | p. 91 |
What Do I Do After I Get or Fail to Get What I Want? | p. 91 |
Using this Approach to Analyze a Scene | p. 92 |
The Text to be Analyzed: The Sea Gull, By Anton Chekhov, Act II, Nina and Treplev | p. 92 |
Nina's Soliloquy Before the Scene Begins | p. 92 |
Treplev's Entrance Disrupting Nina | p. 93 |
Treplev's Short Monologue at the End of the Scene | p. 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 Treplev | p. 96 |
Personalization and Preparation for Nina | p. 96 |
Personalization and Preparation for Treplev | p. 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 Transitions | p. 98 |
Transition: Treplev Enters. | p. 100 |
Beatl | p. 100 |
Beat 2 | p. 101 |
Beat 3 | p. 101 |
Beat 4 | p. 102 |
Beat 5 | p. 103 |
Beat 6 | p. 103 |
Beat 7 | p. 103 |
Beat 8 | p. 104 |
Beat 9 | p. 104 |
Beat 10 | p. 105 |
Beat 11 | p. 105 |
Beat 12 | p. 106 |
Beat 13 | p. 106 |
Beat 14 | p. 107 |
Beat 15 | p. 108 |
Beat 16 | p. 108 |
Beat 17 | p. 109 |
Beat 18 | p. 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 Script | p. 110 |
Preparation and Rehearsal | p. 113 |
More Examples of Applying the Methodology | p. 115 |
Yelena In Uncle Vanya by Anton Chekhov | p. 116 |
Commentary | p. 116 |
Reading One: Understanding the Story | p. 117 |
Reading Two: Gathering the Facts | p. 117 |
Reading Three: Yelena's Point of View | p. 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 2 | p. 119 |
Beat 2 | p. 120 |
Beat 3 | p. 120 |
Beat 4 | p. 120 |
Beat 5 | p. 120 |
Beat 6 | p. 120 |
Beat 7 | p. 121 |
Beat 8 | p. 121 |
Beat 9 | p. 121 |
Beat 10 | p. 121 |
Beat 11 | p. 121 |
Beat 12 | p. 122 |
Beat 13 | p. 122 |
Beat 14 | p. 122 |
Commentary | p. 122 |
Emilia in Othello by William Shakespeare | p. 123 |
Reading One: Understanding the Play | p. 123 |
Reading Two: Gathering the Facts | p. 123 |
Reading Three: Emilia's Point of View | p. 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 1 | p. 125 |
Beat 2 | p. 126 |
Beat 3 | p. 126 |
Beat 4 | p. 126 |
Beat 5 | p. 126 |
Commentary | p. 126 |
Beat 6 | p. 127 |
Beat 7 | p. 127 |
Beat 8 | p. 127 |
Male or Female in Sonnet Number One by William Shakespeare | p. 127 |
Who am I? | p. 129 |
Where am I and When am I there? | p. 129 |
What do I want? | p. 129 |
Beat 1 | p. 130 |
Beat 2 | p. 130 |
Beat 3 | p. 130 |
Beat 4 | p. 130 |
Beat 5 | p. 131 |
Action on an Audience | p. 131 |
Beat | p. 132 |
Beat | p. 132 |
Beat | p. 132 |
Beat | p. 133 |
Male or Female Using Lines From Savage/Love by Sam Shepard and Joseph Chaikin | p. 133 |
Sample Exercise 1: Actions with Objectives | p. 134 |
Sample Exercise 2: Actions and the Hows of the Actions Without Objectives | p. 134 |
Sample Exercise 3: Solo Work | p. 134 |
Creating Your Own Text | p. 135 |
Conclusion | p. 137 |
Action Word Lexicon | p. 139 |
How of the Action Word Lexicon | p. 143 |
Annotated Playlist | p. 147 |
Works Cited | p. 161 |
Index | p. 163 |
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