Prologue | p. xi |
Introduction | p. xix |
Opening Thoughts | p. xix |
Theatre Theory | p. xxi |
The Journey | p. xxii |
Peak Performance | p. xxiv |
Can We Control Peak Performance? | p. xxvii |
How To Use This Book | p. xxix |
Learning and Practice | p. xxxi |
Developing Foresight | p. xxxii |
Foundations | |
Presence | p. 3 |
Present, Past or Future? | p. 4 |
The Foundations of Presence | p. 7 |
Relaxation | p. 8 |
Breathing | p. 12 |
Grounding | p. 15 |
Dual Attention | p. 17 |
Everyday Practice | p. 21 |
Voice | p. 25 |
Basic Principles | p. 26 |
Preparing the Body | p. 28 |
Making Sound - First Steps | p. 34 |
Vocal Expressiveness | p. 36 |
Volume | p. 40 |
Vocal Warm-up and Final Thoughts | p. 42 |
Overcoming the Blocks | |
The Inner Critic | p. 47 |
Nerves are not the Problem | p. 47 |
Introducing the Inner Critic | p. 48 |
How the Inner Critic developed | p. 48 |
Finding the Inner Critic | p. 50 |
Effects and Net Results | p. 53 |
Tracking the Origin | p. 54 |
The Inner Coach | p. 61 |
Sense Memory | p. 61 |
Introducing the Inner Coach | p. 65 |
Level 1 or Level 2? | p. 66 |
Creating an Antidote - Level 1 | p. 70 |
Finding the Inner Coach - Level 1 | p. 73 |
Using the Inner Coach - Level 1 | p. 74 |
Creating an Antidote - Level 2 | p. 77 |
Finding the Inner Coach - Level 2 | p. 78 |
Using the Inner Coach - Level 2 | p. 80 |
Expanding the Repertoire | |
Playing the Right Character | p. 87 |
Differentiating Role and Personality | p. 87 |
Introducing the Characters | p. 88 |
Identifying your Favourite Character | p. 89 |
Overplaying your Favourite Character | p. 92 |
Rehearsing a New Character | p. 92 |
The Good King | p. 95 |
The Good King Prepares | p. 95 |
Super Objective - Finding the "Why" | p. 96 |
Assessing the Audience - The "Who" | p. 98 |
Motivation - Why do you want it? | p. 100 |
Role Analysis | p. 102 |
Rehearsal with Feedback | p. 106 |
Playing the Good King | p. 108 |
Obstacles | p. 109 |
Cues | p. 115 |
Activities to Practise the Good King | p. 117 |
Good King Action Plan | p. 118 |
The Great Mother | p. 119 |
Preparing with Caring | p. 121 |
Assessing the Emotional State of your Audience | p. 121 |
Developing Emotional Awareness | p. 122 |
Connecting with your Material | p. 125 |
Managing your Emotional State | p. 127 |
Presenting with Awareness | p. 130 |
Playing The Great Mother | p. 131 |
Obstacles | p. 133 |
Exploring the Great Mother | p. 135 |
Developing the Great Mother | p. 138 |
Cues | p. 140 |
Activities to Practise the Great Mother | p. 141 |
Great Mother Action Plan | p. 143 |
The Medicine Woman | p. 145 |
The Power of Story | p. 145 |
Imagining to Prepare | p. 148 |
Working with Image | p. 149 |
Finding an Image | p. 151 |
Metaphorical Thinking | p. 154 |
Efficiency vs Effectiveness | p. 157 |
Playing the Medicine Woman | p. 158 |
Seeing the Image | p. 159 |
Using Props | p. 160 |
Obstacles | p. 160 |
Cues | p. 166 |
Activities to Practise the Medicine Woman | p. 167 |
Medicine Woman Action Plan | p. 169 |
The Warrior | p. 171 |
The Warrior Prepares | p. 172 |
Playing the Warrior | p. 173 |
Obstacles | p. 173 |
Developing the Warrior | p. 177 |
Cues | p. 180 |
Activities to Practise the Warrior | p. 181 |
Warrior Action Plan | p. 182 |
Hitting the Mark | |
Authenticity | p. 187 |
Levels of Authenticity | p. 187 |
The Mask | p. 189 |
Developing Awareness | p. 192 |
Assumptions and Counter-arguments | p. 194 |
Core Values | p. 197 |
What Really Matters | p. 199 |
Preparing for Peak Performance | p. 203 |
"I'm Too Busy" | p. 203 |
External Preparation | p. 204 |
Personal "Rituals" | p. 208 |
Internal Preparation | p. 209 |
Emotional Awareness | p. 210 |
Presence | p. 210 |
Voice | p. 211 |
Overcoming the Blocks - Inner Critic/Inner Coach | p. 212 |
Sense Memory | p. 213 |
Calling in a Character | p. 213 |
Authenticity | p. 214 |
"Waiting in the Wings" - Preparation Sequence Example | p. 215 |
Stepping Onstage | p. 216 |
Epilogue | p. 217 |
Bibliography/Further Reading | p. 219 |
Further Resources | p. 221 |
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