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Notes on This Fifth Edition | p. viii |
Preface | p. ix |
About the Author | p. x |
Preparing Yourself to Act | p. 1 |
Understanding the Actor's Job | p. 3 |
Engagement | p. 4 |
Truthfulness | p. 5 |
Skill | p. 7 |
Dramatic Function | p. 8 |
Discipline | p. 8 |
Summary of Step 1 | p. 9 |
The Tradition of the Actor | p. 10 |
The Twentieth Century | p. 11 |
Getting into the Tradition | p. 13 |
Summary of Step 2 | p. 14 |
Relaxing and Centering | p. 15 |
Relaxation | p. 16 |
Finding the Center | p. 19 |
Summary of Step 3 | p. 20 |
Breathing, Sounding, and Moving From the Center | p. 21 |
The Cycle of Energy | p. 22 |
Relationship to Gravity | p. 24 |
Phrasing Movement | p. 26 |
Summary of Step 4 | p. 27 |
Collaboration | p. 28 |
Leading and Following | p. 32 |
Seeing and Hearing | p. 34 |
Getting and Giving Notes | p. 35 |
Summary of Step 5 | p. 36 |
Summary of part one | p. 36 |
Discovering Action | p. 39 |
Example Plays | p. 40 |
Actions and Objectives | p. 41 |
Stanislavski's View of Action | p. 42 |
Public Solitude | p. 43 |
Dual Consciousness | p. 43 |
Indicating | p. 45 |
Raising the Stakes | p. 46 |
Summary of Step 6 | p. 47 |
Action, Emotion, and Character: the Magic If | p. 49 |
Action and Emotion | p. 50 |
Character and the Magic If | p. 50 |
The Actor in You | p. 53 |
Selecting Your Scene | p. 53 |
Dramatic Function Revisited | p. 54 |
Summary of Step 7 | p. 55 |
Defining Objectives and Actions | p. 57 |
Defining Useful Objectives | p. 58 |
Playable Strategic Actions | p. 59 |
Subtext | p. 60 |
Not Doing | p. 61 |
Obstacles and Counteractions | p. 62 |
Summary of Step 8 | p. 63 |
The Flow and Shape of Drama | p. 64 |
Internal and External Action | p. 65 |
The Shape of Drama | p. 67 |
Crisis | p. 69 |
Summary of Step 9 | p. 71 |
Exploring Scene Structure and the given Circumstances | p. 72 |
Units of Action, or Beats | p. 73 |
The Given Circumstances | p. 77 |
Summary of Step 10 | p. 80 |
Summary of part two | p. 80 |
Developing the Character | p. 83 |
The Character's Traits and Needs | p. 84 |
Function Traits | p. 84 |
Recognition Traits | p. 86 |
Needs and Personalization | p. 87 |
Emotion Recall and Substitution | p. 88 |
Summary of Step 11 | p. 90 |
Getting into the Character's Mind | p. 91 |
Perception, Arousal, and Attitude | p. 92 |
Automatic and Spontaneous Actions | p. 94 |
Deliberation and Strategic Choice | p. 95 |
The Inner Monologue | p. 96 |
Summary of Step 12 | p. 98 |
Exploring the Character's Language | p. 100 |
Word Choice | p. 101 |
Rhythm | p. 102 |
The Music of Speech | p. 105 |
Summary of Step 13 | p. 106 |
Summary of part three | p. 107 |
Final Rehearsals and Performance | p. 109 |
Finding the Scenario, Score, Through-Line, and Superobjective | p. 110 |
The Score and Pace | p. 112 |
The Through-Line and Superobjective | p. 113 |
Personalizing the Superobjective | p. 115 |
Summary of Step 14 | p. 116 |
Staging | p. 117 |
Types of Stages | p. 117 |
Moving on Stage | p. 119 |
Blocking | p. 121 |
Shaping and Pacing | p. 122 |
Summary of Step 15 | p. 123 |
Performing | p. 124 |
Emotion in Performance | p. 125 |
Spontaneity | p. 126 |
Evaluating Your Work | p. 127 |
Growth After Opening | p. 128 |
An Actor's Sense of Purpose | p. 128 |
Summary of Step 16 | p. 129 |
Summary of part four | p. 130 |
A Sample Television Scene | p. 131 |
Suggested Plays and Anthologies | p. 134 |
Plays | p. 134 |
Play and Scene Anthologies | p. 137 |
Anthologies for Students of Color | p. 138 |
Glossary of Theater and Film Terminology | p. 140 |
Index | p. 148 |
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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.