Robert Cohen
Acting One
Robert Cohen
Acting One
- Broschiertes Buch
- Merkliste
- Auf die Merkliste
- Bewerten Bewerten
- Teilen
- Produkt teilen
- Produkterinnerung
- Produkterinnerung
Used to teach beginning acting on more campuses than any other text, Acting One covers the basic elements of realistic acting in twenty-eight lessons - all based on experiential exercises. The text covers basic skills such as talking, listening, tactical interplay, physicalizing, building scenes, and making good choices.
Andere Kunden interessierten sich auch für
- McGraw HillActing & Directing54,99 €
- Harold GuskinHow to Stop Acting15,99 €
- Scott SeditaThe Eight Characters of Comedy22,99 €
- Jonathan PitchesScience and the Stanislavsky Tradition of Acting78,99 €
- Paul KuritzFundamental Acting22,99 €
- Tisca ChopraActing Smart: Your Ticket to Showbiz17,99 €
- Christopher BayesDiscovering the Clown, or the Funny Book of Good Acting15,99 €
-
-
-
Used to teach beginning acting on more campuses than any other text, Acting One covers the basic elements of realistic acting in twenty-eight lessons - all based on experiential exercises. The text covers basic skills such as talking, listening, tactical interplay, physicalizing, building scenes, and making good choices.
Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Produktdetails
- Produktdetails
- Verlag: McGraw Hill LLC
- 5th edition
- Seitenzahl: 288
- Erscheinungstermin: 1. Januar 2007
- Englisch
- Abmessung: 231mm x 163mm x 22mm
- Gewicht: 505g
- ISBN-13: 9780073514161
- ISBN-10: 0073514160
- Artikelnr.: 22745469
- Verlag: McGraw Hill LLC
- 5th edition
- Seitenzahl: 288
- Erscheinungstermin: 1. Januar 2007
- Englisch
- Abmessung: 231mm x 163mm x 22mm
- Gewicht: 505g
- ISBN-13: 9780073514161
- ISBN-10: 0073514160
- Artikelnr.: 22745469
ROBERT COHEN was the founding chair Drama at the University of California at Irvine, where he continues to serve as the department's Claire Trevor Professor of Drama. He has also been a resident acting teacher at the Actors Center in New York, the Shanghai Theatre Academy, the Korean National Arts University, and the national theatre academies of Hungary, Finland, and Estonia. He is an accomplished stage director, scholar, playwright, drama critic, and teacher. A director by training (Doctor of Fine Arts, Yale Drama School), Cohen has staged thirteen professional productions at the Utah and Colorado Shakespeare Festivals, plus well over a hundred productions at Stages Theatre Center (Hollywood), Virginia Museum Theatre (Richmond), Theatre 40 (Beverly Hills), Image Theatre (Boston), Summer Repertory Theatre (Santa Rosa), the Medieval Drama Project (Irvine), the Manhattan Theatre Source, various universities, and several operas, videos and films. In addition to Theatre and Theatre: Brief Edition, he is also the author of many theatre books, including Acting One, Advanced Acting, Acting in Shakespeare, Acting Professionally, Acting Power, More Power to You, Giraudoux: Three Faces of Destiny, Creative Play Direction, and two dramatic anthologies. His essays have appeared in Theatre Journal, Theatre Topics, Theatre Forum, Theatre Survey, Modern Drama, Theater der Zeit, Essays in Theatre, On Stage Studies, The Drama Review, Contemporary Literature, Contemporary Literary Criticism, Slavic and East European Performance, Experiment and Innovation, and Dramatic Theory and Criticism. Cohen's play, The Prince, published by Dramatic Publishing Company, has been professionally produced in Long Beach, Pittsburgh, Budapest, and in staged readings in New York and Los Angeles; his dramatic translations (The Bourgeois Gentleman, The Misanthrope, Clizia, Tibi's Law) and opera translations (The Magic Flute, Carmen) have been both produced and published widely. For the past twenty years, Cohen has been the Southern California drama critic for Plays International, reviewing over two hundred plays. In 1999, he received the national Career Achievement award from ATHE - the Association for Theatre in Higher Education.
Preface ACTING ONE Introduction PART I. PREPARATION FOR ACTING Lesson 1: 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 Lesson 2: What Is Acting? Exercise 2-1 Pledge Your Allegiance to a Flag PART II. THE ACTOR'S APPROACH Lesson 3: 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 Lesson 4: 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 Lesson 5: 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 Lesson 6: 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 Lesson 7: 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 Lesson 8: GOTE A Basic Method
"Get Your Character's GOTE"
Exercise 8-1 The GOTEsheet PART III. THE ACTOR'S TASK Lesson 9: 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 Lesson 10: Rehearsing Rehearsals
Undirected Rehearsals
Rehearsal Alternatives
Exercise 10-1 The Gentleman Caller II Lesson 11: Staging the Scene Stage Directions
Creating the Locale
Movement and Stage Business
Interesting Positions
Reaching the Audience
Exercise 11-1 Setting the Stage Lesson 12: Choices The Need for Choices
Good Choices
Exercise 12-1 Bold Choices Lesson 13: Performing Stage Fright
Classroom Performance
Play for Results--In the Other Character! Lesson 14: Evaluation and Improvement Helpful Criticism
Reworking
Exercise 14-1 Scene Presentation PART IV. THE ACTOR'S INSTRUMENT Lesson 15: 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 Lesson 16: Stage Speech Good Diction
Speech Sounds
Exercise 16-1 Vowels
Exercise 16-2 Repeating Syllables
Exercise 16-3 Consonants
Exercise 16-4 Speeches Lesson 17: 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 Lesson 18: 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 18-10 To Be or Not to Be
Exercise 18-11 Walking and Kicking Lesson 19: Voice and Body Integration Coordination
Exercise 19-1 Commands
Exercise 19-2 Speeches with Business
Exercise 19-3 Physical Punctuation
Exercise 19-4 Physical Rhythms
Exercise 19-5 Verbal Rhythms
Pointing
Exercise 19-6 Pointing
Tempo
Exercise 19-7 Speech
Movement Timing
Actors with Disabilities Lesson 20: Imagination and Creativity Imagination
Creativity
Creativity and Imagination
Using Your Fantasies
Exercise 20-1 Cold
Hot
Exercise 20-2 Age Regression
Advancement
Exercise 20-3 Facing an Imagined Death
Exercise 20-4 Facing Love
Lesson 21: Emotion and Acting Theory Exercise 21-1 Playing (with) Real Emotion I
Self-Consciousness
Exercise 21-2 Playing (with) Real Emotion II
PART V. THE ACTOR'S TECHNIQUE Lesson 22: Phrasing Diction
Open-Mouthed Speaking
Exercise 22-1 A Acting with Your Teeth
Exercise 22-1 B
Exercise 22-1 C
Developing Diction
Exercise 22-2 Repeated Sentences
Exercise 22-3 Shaw Speech
Emphasis
Exercise 22-4 Change of Emphasis
Exercise 22-5 Punctuate with Emphasis
Inflection
Exercise 22-6 Inflections
Phrasing Lesson 23: Attack The First Word
Physical Attack
Turn-Taking
Exercise 23-1 Turn-Taking Dialog
Preparing Strong Attacks
Exercise 23-2 Action Cues Lesson 24: Follow-Through The Hook
Questions as Questions
Statements as Questions
Exercise 24-1 Making Questions
Statements as Statements
Exercise 24-2 Argument-Enders
Trail-offs Lesson 25: Line Linkage Analyzing Dialog
Rising End-Inflections
Falling End-Inflections
Attack Inflections
Pauses
Long Speeches
Exercise 25-1 Line Linking
Exercise 25-2 The Long Speech
Line Linking in Practice Lesson 26: Scene Structure Breaking Down a Script
Choosing a Scene to Do in Class
Structural Characteristics
Transitions
Scene Breakdown
Exercise 26-1 Scene Structure in Action Lesson 27: Building a Scene Building and Topping
Exercise 27-1 Standard Build I
Exercise 27-2 Standard Build II
Exercise 27-3 Standard Build III
Cutting Back
Getting on Top
Pacing a Build
Complex Builds
Exercise 27-4 I Detest Monday
Exercise 27-5 I Detest January
Exercise 27-6 Come Here
Exercise 27-7 Building Molière Lesson 28: Creating a Monologue Going It Alone
The Monologue to Someone Else
The Soliloquy
Playing a Monologue or Soliloquy
Exercise 28-1 Prepare a Monologue
L'Envoi Glossary of Acting Terms Index
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 Lesson 2: What Is Acting? Exercise 2-1 Pledge Your Allegiance to a Flag PART II. THE ACTOR'S APPROACH Lesson 3: 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 Lesson 4: 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 Lesson 5: 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 Lesson 6: 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 Lesson 7: 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 Lesson 8: GOTE A Basic Method
"Get Your Character's GOTE"
Exercise 8-1 The GOTEsheet PART III. THE ACTOR'S TASK Lesson 9: 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 Lesson 10: Rehearsing Rehearsals
Undirected Rehearsals
Rehearsal Alternatives
Exercise 10-1 The Gentleman Caller II Lesson 11: Staging the Scene Stage Directions
Creating the Locale
Movement and Stage Business
Interesting Positions
Reaching the Audience
Exercise 11-1 Setting the Stage Lesson 12: Choices The Need for Choices
Good Choices
Exercise 12-1 Bold Choices Lesson 13: Performing Stage Fright
Classroom Performance
Play for Results--In the Other Character! Lesson 14: Evaluation and Improvement Helpful Criticism
Reworking
Exercise 14-1 Scene Presentation PART IV. THE ACTOR'S INSTRUMENT Lesson 15: 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 Lesson 16: Stage Speech Good Diction
Speech Sounds
Exercise 16-1 Vowels
Exercise 16-2 Repeating Syllables
Exercise 16-3 Consonants
Exercise 16-4 Speeches Lesson 17: 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 Lesson 18: 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 18-10 To Be or Not to Be
Exercise 18-11 Walking and Kicking Lesson 19: Voice and Body Integration Coordination
Exercise 19-1 Commands
Exercise 19-2 Speeches with Business
Exercise 19-3 Physical Punctuation
Exercise 19-4 Physical Rhythms
Exercise 19-5 Verbal Rhythms
Pointing
Exercise 19-6 Pointing
Tempo
Exercise 19-7 Speech
Movement Timing
Actors with Disabilities Lesson 20: Imagination and Creativity Imagination
Creativity
Creativity and Imagination
Using Your Fantasies
Exercise 20-1 Cold
Hot
Exercise 20-2 Age Regression
Advancement
Exercise 20-3 Facing an Imagined Death
Exercise 20-4 Facing Love
Lesson 21: Emotion and Acting Theory Exercise 21-1 Playing (with) Real Emotion I
Self-Consciousness
Exercise 21-2 Playing (with) Real Emotion II
PART V. THE ACTOR'S TECHNIQUE Lesson 22: Phrasing Diction
Open-Mouthed Speaking
Exercise 22-1 A Acting with Your Teeth
Exercise 22-1 B
Exercise 22-1 C
Developing Diction
Exercise 22-2 Repeated Sentences
Exercise 22-3 Shaw Speech
Emphasis
Exercise 22-4 Change of Emphasis
Exercise 22-5 Punctuate with Emphasis
Inflection
Exercise 22-6 Inflections
Phrasing Lesson 23: Attack The First Word
Physical Attack
Turn-Taking
Exercise 23-1 Turn-Taking Dialog
Preparing Strong Attacks
Exercise 23-2 Action Cues Lesson 24: Follow-Through The Hook
Questions as Questions
Statements as Questions
Exercise 24-1 Making Questions
Statements as Statements
Exercise 24-2 Argument-Enders
Trail-offs Lesson 25: Line Linkage Analyzing Dialog
Rising End-Inflections
Falling End-Inflections
Attack Inflections
Pauses
Long Speeches
Exercise 25-1 Line Linking
Exercise 25-2 The Long Speech
Line Linking in Practice Lesson 26: Scene Structure Breaking Down a Script
Choosing a Scene to Do in Class
Structural Characteristics
Transitions
Scene Breakdown
Exercise 26-1 Scene Structure in Action Lesson 27: Building a Scene Building and Topping
Exercise 27-1 Standard Build I
Exercise 27-2 Standard Build II
Exercise 27-3 Standard Build III
Cutting Back
Getting on Top
Pacing a Build
Complex Builds
Exercise 27-4 I Detest Monday
Exercise 27-5 I Detest January
Exercise 27-6 Come Here
Exercise 27-7 Building Molière Lesson 28: Creating a Monologue Going It Alone
The Monologue to Someone Else
The Soliloquy
Playing a Monologue or Soliloquy
Exercise 28-1 Prepare a Monologue
L'Envoi Glossary of Acting Terms Index
Preface ACTING ONE Introduction PART I. PREPARATION FOR ACTING Lesson 1: 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 Lesson 2: What Is Acting? Exercise 2-1 Pledge Your Allegiance to a Flag PART II. THE ACTOR'S APPROACH Lesson 3: 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 Lesson 4: 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 Lesson 5: 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 Lesson 6: 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 Lesson 7: 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 Lesson 8: GOTE A Basic Method
"Get Your Character's GOTE"
Exercise 8-1 The GOTEsheet PART III. THE ACTOR'S TASK Lesson 9: 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 Lesson 10: Rehearsing Rehearsals
Undirected Rehearsals
Rehearsal Alternatives
Exercise 10-1 The Gentleman Caller II Lesson 11: Staging the Scene Stage Directions
Creating the Locale
Movement and Stage Business
Interesting Positions
Reaching the Audience
Exercise 11-1 Setting the Stage Lesson 12: Choices The Need for Choices
Good Choices
Exercise 12-1 Bold Choices Lesson 13: Performing Stage Fright
Classroom Performance
Play for Results--In the Other Character! Lesson 14: Evaluation and Improvement Helpful Criticism
Reworking
Exercise 14-1 Scene Presentation PART IV. THE ACTOR'S INSTRUMENT Lesson 15: 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 Lesson 16: Stage Speech Good Diction
Speech Sounds
Exercise 16-1 Vowels
Exercise 16-2 Repeating Syllables
Exercise 16-3 Consonants
Exercise 16-4 Speeches Lesson 17: 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 Lesson 18: 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 18-10 To Be or Not to Be
Exercise 18-11 Walking and Kicking Lesson 19: Voice and Body Integration Coordination
Exercise 19-1 Commands
Exercise 19-2 Speeches with Business
Exercise 19-3 Physical Punctuation
Exercise 19-4 Physical Rhythms
Exercise 19-5 Verbal Rhythms
Pointing
Exercise 19-6 Pointing
Tempo
Exercise 19-7 Speech
Movement Timing
Actors with Disabilities Lesson 20: Imagination and Creativity Imagination
Creativity
Creativity and Imagination
Using Your Fantasies
Exercise 20-1 Cold
Hot
Exercise 20-2 Age Regression
Advancement
Exercise 20-3 Facing an Imagined Death
Exercise 20-4 Facing Love
Lesson 21: Emotion and Acting Theory Exercise 21-1 Playing (with) Real Emotion I
Self-Consciousness
Exercise 21-2 Playing (with) Real Emotion II
PART V. THE ACTOR'S TECHNIQUE Lesson 22: Phrasing Diction
Open-Mouthed Speaking
Exercise 22-1 A Acting with Your Teeth
Exercise 22-1 B
Exercise 22-1 C
Developing Diction
Exercise 22-2 Repeated Sentences
Exercise 22-3 Shaw Speech
Emphasis
Exercise 22-4 Change of Emphasis
Exercise 22-5 Punctuate with Emphasis
Inflection
Exercise 22-6 Inflections
Phrasing Lesson 23: Attack The First Word
Physical Attack
Turn-Taking
Exercise 23-1 Turn-Taking Dialog
Preparing Strong Attacks
Exercise 23-2 Action Cues Lesson 24: Follow-Through The Hook
Questions as Questions
Statements as Questions
Exercise 24-1 Making Questions
Statements as Statements
Exercise 24-2 Argument-Enders
Trail-offs Lesson 25: Line Linkage Analyzing Dialog
Rising End-Inflections
Falling End-Inflections
Attack Inflections
Pauses
Long Speeches
Exercise 25-1 Line Linking
Exercise 25-2 The Long Speech
Line Linking in Practice Lesson 26: Scene Structure Breaking Down a Script
Choosing a Scene to Do in Class
Structural Characteristics
Transitions
Scene Breakdown
Exercise 26-1 Scene Structure in Action Lesson 27: Building a Scene Building and Topping
Exercise 27-1 Standard Build I
Exercise 27-2 Standard Build II
Exercise 27-3 Standard Build III
Cutting Back
Getting on Top
Pacing a Build
Complex Builds
Exercise 27-4 I Detest Monday
Exercise 27-5 I Detest January
Exercise 27-6 Come Here
Exercise 27-7 Building Molière Lesson 28: Creating a Monologue Going It Alone
The Monologue to Someone Else
The Soliloquy
Playing a Monologue or Soliloquy
Exercise 28-1 Prepare a Monologue
L'Envoi Glossary of Acting Terms Index
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 Lesson 2: What Is Acting? Exercise 2-1 Pledge Your Allegiance to a Flag PART II. THE ACTOR'S APPROACH Lesson 3: 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 Lesson 4: 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 Lesson 5: 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 Lesson 6: 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 Lesson 7: 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 Lesson 8: GOTE A Basic Method
"Get Your Character's GOTE"
Exercise 8-1 The GOTEsheet PART III. THE ACTOR'S TASK Lesson 9: 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 Lesson 10: Rehearsing Rehearsals
Undirected Rehearsals
Rehearsal Alternatives
Exercise 10-1 The Gentleman Caller II Lesson 11: Staging the Scene Stage Directions
Creating the Locale
Movement and Stage Business
Interesting Positions
Reaching the Audience
Exercise 11-1 Setting the Stage Lesson 12: Choices The Need for Choices
Good Choices
Exercise 12-1 Bold Choices Lesson 13: Performing Stage Fright
Classroom Performance
Play for Results--In the Other Character! Lesson 14: Evaluation and Improvement Helpful Criticism
Reworking
Exercise 14-1 Scene Presentation PART IV. THE ACTOR'S INSTRUMENT Lesson 15: 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 Lesson 16: Stage Speech Good Diction
Speech Sounds
Exercise 16-1 Vowels
Exercise 16-2 Repeating Syllables
Exercise 16-3 Consonants
Exercise 16-4 Speeches Lesson 17: 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 Lesson 18: 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 18-10 To Be or Not to Be
Exercise 18-11 Walking and Kicking Lesson 19: Voice and Body Integration Coordination
Exercise 19-1 Commands
Exercise 19-2 Speeches with Business
Exercise 19-3 Physical Punctuation
Exercise 19-4 Physical Rhythms
Exercise 19-5 Verbal Rhythms
Pointing
Exercise 19-6 Pointing
Tempo
Exercise 19-7 Speech
Movement Timing
Actors with Disabilities Lesson 20: Imagination and Creativity Imagination
Creativity
Creativity and Imagination
Using Your Fantasies
Exercise 20-1 Cold
Hot
Exercise 20-2 Age Regression
Advancement
Exercise 20-3 Facing an Imagined Death
Exercise 20-4 Facing Love
Lesson 21: Emotion and Acting Theory Exercise 21-1 Playing (with) Real Emotion I
Self-Consciousness
Exercise 21-2 Playing (with) Real Emotion II
PART V. THE ACTOR'S TECHNIQUE Lesson 22: Phrasing Diction
Open-Mouthed Speaking
Exercise 22-1 A Acting with Your Teeth
Exercise 22-1 B
Exercise 22-1 C
Developing Diction
Exercise 22-2 Repeated Sentences
Exercise 22-3 Shaw Speech
Emphasis
Exercise 22-4 Change of Emphasis
Exercise 22-5 Punctuate with Emphasis
Inflection
Exercise 22-6 Inflections
Phrasing Lesson 23: Attack The First Word
Physical Attack
Turn-Taking
Exercise 23-1 Turn-Taking Dialog
Preparing Strong Attacks
Exercise 23-2 Action Cues Lesson 24: Follow-Through The Hook
Questions as Questions
Statements as Questions
Exercise 24-1 Making Questions
Statements as Statements
Exercise 24-2 Argument-Enders
Trail-offs Lesson 25: Line Linkage Analyzing Dialog
Rising End-Inflections
Falling End-Inflections
Attack Inflections
Pauses
Long Speeches
Exercise 25-1 Line Linking
Exercise 25-2 The Long Speech
Line Linking in Practice Lesson 26: Scene Structure Breaking Down a Script
Choosing a Scene to Do in Class
Structural Characteristics
Transitions
Scene Breakdown
Exercise 26-1 Scene Structure in Action Lesson 27: Building a Scene Building and Topping
Exercise 27-1 Standard Build I
Exercise 27-2 Standard Build II
Exercise 27-3 Standard Build III
Cutting Back
Getting on Top
Pacing a Build
Complex Builds
Exercise 27-4 I Detest Monday
Exercise 27-5 I Detest January
Exercise 27-6 Come Here
Exercise 27-7 Building Molière Lesson 28: Creating a Monologue Going It Alone
The Monologue to Someone Else
The Soliloquy
Playing a Monologue or Soliloquy
Exercise 28-1 Prepare a Monologue
L'Envoi Glossary of Acting Terms Index