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 20
... stop the obses- sion at will , because he has no control over it . But the actor's obsession must end at the moment the curtain comes down or the director calls " Cut ! " If you carry the character home with you , it can cause havoc in ...
... stop the obses- sion at will , because he has no control over it . But the actor's obsession must end at the moment the curtain comes down or the director calls " Cut ! " If you carry the character home with you , it can cause havoc in ...
Side 49
... stop until death ; that children are born already influenced by prenatal harmony or discord — a child who is wanted seems to arrive more adjusted than a child who is not . I don't doubt that all of our experience is recorded in our ...
... stop until death ; that children are born already influenced by prenatal harmony or discord — a child who is wanted seems to arrive more adjusted than a child who is not . I don't doubt that all of our experience is recorded in our ...
Side 104
... stop this nonsense and go home ! " Your mind instinctively protects you from the very " obsession " you're trying to achieve : " to become someone else . " In order to control an audience , you must first learn to master yourself . When ...
... stop this nonsense and go home ! " Your mind instinctively protects you from the very " obsession " you're trying to achieve : " to become someone else . " In order to control an audience , you must first learn to master yourself . When ...
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