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 33
... What she cares about . " " Who he loves ... or hates . " " All of those are correct . But remember , in gathering your infor- mation about the character , select only what's actable . The playwright James Barrie once wrote a direction ...
... What she cares about . " " Who he loves ... or hates . " " All of those are correct . But remember , in gathering your infor- mation about the character , select only what's actable . The playwright James Barrie once wrote a direction ...
Side 136
... What is he getting at ? What's the deeper meaning underneath the plot and all the words ? What's the main statement he's making to the audience ? Then , what is the time period ? Time changes everything , not only in hundreds of years ...
... What is he getting at ? What's the deeper meaning underneath the plot and all the words ? What's the main statement he's making to the audience ? Then , what is the time period ? Time changes everything , not only in hundreds of years ...
Side 148
... what's really happening inside of us ; we show only what we want people to believe is happening . All of us wear masks for protection . When you plan a character , remember that duality . The mask can drop for an instant under pressure ...
... what's really happening inside of us ; we show only what we want people to believe is happening . All of us wear masks for protection . When you plan a character , remember that duality . The mask can drop for an instant under pressure ...
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