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Preface | |
Acting One | |
Introduction | |
Preparation For Acting | |
Preparing to Act Relaxation | |
Exercise 1-1 Relaxation | |
Trust | |
Exercise 1-2 Spine Lengthening | |
Exuberance | |
Exercise 1-3 BAM-POW, Dance, Sing | |
Discipline | |
Criticism | |
A Playful Attitude | |
Freedom | |
Preparation | |
What Is Acting? Exercise 2-1 Pledge Your Allegiance to a Flag | |
The Actor's Approach | |
Goal and Obstacle Fundamental Principle | |
Exercise 3-1 Reaching | |
Exercise 3-2 Reaching for Goals | |
Exercise 3-3 Overcoming an Obstacle | |
Self-Consciousness | |
Exercise 3-4 Doing vs. Being | |
Projection | |
Exercise 3-5 Resonating | |
Exercise 3-6 Resonating (A Continuation) | |
Exercise 3-7 Goals | |
Acting with the "Other" The Other | |
Exercise 4-1 Making Your Partner Smile | |
Interactive Dynamics | |
Exercise 4-2 Vulnerability | |
Exercise 4-3 Discovery | |
The Character | |
Tactics | |
Exercise 4-4 Using Tactics | |
Exercise 4-5 One Two Three Four Five Six Seven | |
Monologues | |
Exercise 4-6 Inventing the Other | |
Beginning to Act Contentless Scene | |
Exercise 5-1 Contentless Scene I | |
Intensifiers | |
Exercise 5-2 Intensifying | |
Physicalizers | |
Exercise 5-3 Varying Locale or Action | |
Exercise 5-4 Contentless Scene II | |
Tactics Punishment and Reward | |
Playing Tactics | |
Exercise 6-1 Frighten Your Partner | |
Exercise 6-2 Building Intensity | |
Exercise 6-3 Try to Make Your Partner Cry | |
Exercise 6-4 Movement and Contact | |
Exercise 6-5 Encourage Your Partner | |
Alternating Tactics | |
Exercise 6-6 Mixing Tactics | |
The Middle Ranges | |
Exercise 6-7 Eliminating the Extremes | |
Expectations Expecting Victory | |
Exercise 7-1 Playing Bored | |
Positive Goals | |
Exercise 7-2 Enthusiasm | |
Exercise 7-3 Try the Impossible | |
Eye Contact | |
Exercise 7-4 Tactics and Expectations | |
GOTE A Basic Method | |
"Get Your Character's GOTE" | |
Exercise 8-1 The GOTEsheet | |
The Actor's Task | |
Preparing a Role Finding Your Role | |
Finding Your "Character" | |
Editing a Scene | |
Memorization Methods | |
Cues: Action Cues and Line Cues | |
Studying the Part | |
Exercise 9-1 The Gentleman Caller I | |
Rehearsing Rehearsals | |
Undirected Rehearsals | |
Rehearsal Alternatives | |
Exercise 10-1 The Gentleman Caller II | |
Staging the Scene Stage Directions | |
Creating the Locale | |
Movement and Stage Business | |
Interesting Positions | |
Reaching the Audience | |
Exercise 11-1 Setting the Stage | |
Choices The Need for Choices | |
Good Choices | |
Exercise 12-1 Bold Choices | |
Performing Stage Fright | |
Classroom Performance | |
Play for Results--In the Other Character! | |
Evaluation and Improvement Helpful Criticism | |
Reworking | |
Exercise 14-1 Scene Presentation | |
The Actor's Instrument | |
The Actor's Voice Breathing | |
Exercise 15-1 Breathing from the Abdomen | |
Phonation: Making Sounds | |
Exercise 15-2 Sounding | |
Resonance | |
Exercise 15-3 Exploring Resonance | |
Pitch | |
Exercise 15-4 Exploring Your Pitch Range | |
A Stageworthy Voice | |
Exercise 15-5 Speaking with Resonance | |
Stage Speech Good Diction | |
Speech Sounds | |
Exercise 16-1 Vowels | |
Exercise 16-2 Repeating Syllables | |
Exercise 16-3 Consonants | |
Exercise 16-4 Speeches | |
Using Your Voice Liberation | |
Exercise 17-1 Rude Chants | |
Exercise 17-2 Rude Cheering | |
Exercise 17-3 Fancy Talk | |
Exercise 17-4 Address a Group | |
Purposefulness | |
Exercise 17-5 Adding Purpose | |
The Actor's Body Agility | |
Exercise 18-1 Fast Warm-Up | |
Alignment | |
Exercise 18-2 Improving Alignment | |
Walking | |
Exercise 18-3 Sixteen Walks | |
Exercise 18-4 Walk and Talk | |
Sitting and Standing | |
Exercise 18-5 Walk, Talk, Sit | |
Velocity: Accelerating, Decelerating, and Constant | |
Exercise 18-6 Acceleration/Deceleration | |
Counterpoise | |
Exercise 18-7 Contraposto | |
Exercise 18-8 Contraction/Extension | |
The Dynamics of Effort | |
Exercise 18-9 Distinct Movements | |
Exercise | |
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