Acting Without Agony: An Alternative to the MethodAllyn and Bacon, 1988 - 194 sider This practical, step-by-step guide is organized into 18 lessons for achieving outstanding performance in acting and directing. This text offers an alternative to the Stanislavsky "method" and teaches another way of arriving at emotions, which is described in detail throughout the text. MARKETS: Undergraduate and graduate courses in acting and directing. |
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Side 84
... person ... to be that age . . . in those clothes ... in that human being's skin ? " They must learn to trust their feelings more than their intellects . Feeling is where their talent lies . ... In conclusion I say , " You might not like ...
... person ... to be that age . . . in those clothes ... in that human being's skin ? " They must learn to trust their feelings more than their intellects . Feeling is where their talent lies . ... In conclusion I say , " You might not like ...
Side 138
... person attacks , the other defends himself . When you choose the aggressor , that person is the driving force in the scene ; he's the one that initiates the moves . The other person retreats and evades defensively . That results in ...
... person attacks , the other defends himself . When you choose the aggressor , that person is the driving force in the scene ; he's the one that initiates the moves . The other person retreats and evades defensively . That results in ...
Side 150
... person is speaking , but I can't seem to do it . What should I do ? ” " You can't make your mind a blank . When the other person speaks , keep thinking your objective and you'll hear the same way we do in life . " Some of the students ...
... person is speaking , but I can't seem to do it . What should I do ? ” " You can't make your mind a blank . When the other person speaks , keep thinking your objective and you'll hear the same way we do in life . " Some of the students ...
Indhold
What Is Acting? | 15 |
What Must I Think? | 25 |
Who Is My Character? | 35 |
Copyright | |
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acting actor actress Al Pacino ask the class audience bank robber basic joke beat behavior believe Bettmann Archive blackboard body brain called camera character character's Charles Jehlinger choose Colleen Dewhurst comedy Description-The mirror dialogue director drama Dustin Hoffman Elia Kazan enter fear feel film front funny girl hand Helen Hayes imaginary improvisation Jehlinger's Kazan lady laugh lawyer Lesson look Luther Adler Marlon Brando Method mind never objectives and emotions Odd Couple Olivier Oscar performance person play playwright practice rehearsal relax remember Ron Leibman Sam Levene scene script sense-memory Shakespeare Shirley Booth shooting shot someone sound-stage stage Stanislavsky stay Stella Adler story Strasberg Streetcar Named Desire style taught teach teacher tell the class theatre there's things thought tion truth Uta Hagen voice walk watching what's wife word young