Acting Onstage and Off / Edition 2

Acting Onstage and Off / Edition 2

by Robert Barton, Richard Barton
     
 

ISBN-10: 003072192X

ISBN-13: 9780030721922

Pub. Date: 08/28/1992

Publisher: Harcourt College Publishers

A textbook for beginning acting students, emphasizing the life- enhancing aspects of actor training over technical skills. It explains how offstage performance can be adapted for the theater, and vice versa. No dates are noted for previous editions. Annotation c. Book News, Inc., Portland, OR

Overview

A textbook for beginning acting students, emphasizing the life- enhancing aspects of actor training over technical skills. It explains how offstage performance can be adapted for the theater, and vice versa. No dates are noted for previous editions. Annotation c. Book News, Inc., Portland, OR

Product Details

ISBN-13:
9780030721922
Publisher:
Harcourt College Publishers
Publication date:
08/28/1992
Edition description:
Older Edition
Pages:
304
Product dimensions:
4.22(w) x 7.10(h) x 1.14(d)

Related Subjects

Table of Contents

Preface xix
Acting to Understand xix
Using This Text xx
Acknowledgments xxii
Acting Acknowledged
1(28)
Recognizing That You're Already an Experienced Actor and Are Almost Always Acting
All The World's A Stage
2(11)
Seven Ages
4(3)
Seven Acts
7(6)
Observing Yourself Act
13(10)
Actor Guidelines
17(2)
Alternatives
19(4)
Why Study Acting?
23(4)
A Richer Life
24(1)
Actors vs. Others
25(2)
Already an Actor
27(1)
Notes
27(2)
Relaxed Readiness
29(39)
Getting Calm Enough, Yet Energized Enough, to Perform Fully
Warming Up
29(1)
Balancing Opposing States
30(1)
Mental Warm-UPS
30(5)
Demons
31(1)
Class Commitment
32(1)
Stage Fright Substitutes
33(1)
Accepting the Audience
33(2)
Group Warm-Ups
35(7)
Sharing Now
35(3)
Too Much, Too Soon?
38(1)
Names
39(1)
Group Contact Exercises
40(2)
Physical Warm-Ups
42(16)
Narrowing Your Circle
43(1)
Meditation
43(1)
Tensing/Releasing
44(2)
Alignment
46(1)
Shaking Out
47(1)
Stretching
48(3)
Breathing
51(1)
Aerobics
52(4)
Changing Images
56(2)
Vocal Warm-Ups
58(7)
Releasing
58(1)
Breathing
59(2)
Rooting Sound
61(1)
Shaping Sound
61(2)
Precision Drills
63(1)
Vocal Progression
64(1)
When and Where to Warm up
65(1)
Offstage Adaptations
66(1)
Notes
67(1)
Individual Inventory
68(37)
Knowing Enough About Yourself and Your Equipment to Use Everything You Have
Taking Stock
68(1)
Knowing Your Instrument
69(1)
Body Awareness
69(18)
Habits
70(1)
Adaptations
70(1)
Cultural Binding
71(5)
I Am What I Am
76(3)
Imitation for Double Awareness
79(1)
Physical Life Project
79(7)
Imitation Payoffs
86(1)
Applying Body Awareness
87(1)
Vocal Awareness
87(11)
Quality
88(1)
Tempo and Rhythm
88(1)
Articulation
88(1)
Pronunciation
89(1)
Pitch
89(1)
Volume
89(1)
Word Choice
89(1)
Nonverbals
89(1)
Influences
90(6)
Vocal Life Project
96(2)
Applying Vocal Awareness
98(1)
Personal Awareness
98(6)
Bringing Yourself Onstage
101(2)
Choosing for Yourself
103(1)
Notes
104(1)
Stanislavski's System
105(50)
Understanding the Only Complete Process By Which Actors Build Characters
Myth And Reality
105(10)
Who Was Stanislavski?
106(1)
Basic Ingredients
107(1)
The Legacy
108(2)
Most Misunderstood
110(3)
Empathy
113(2)
Ten System Steps
115(15)
Given Circumstances
116(1)
The Magic If
116(2)
Super Objective
118(1)
Through-Line of Actions
119(3)
Scoring the Role
122(1)
Endowment
123(1)
Recall
124(3)
Images
127(1)
External Adjustments
128(1)
The Creative State
129(1)
Open Scenes
130(10)
Closing Scenes
131(1)
Open Interpretations
132(8)
Open Scene Presentations
140(1)
Stanislavski Extended
140(13)
Private Audience
141(1)
Grouping
142(1)
Substitution
143(1)
Conditioning Forces
144(2)
Rehearsed Futures
146(1)
Suppression
147(1)
Working with a Partner
148(4)
Taking the Gifts
152(1)
Notes
153(2)
Truth/Technique
155(33)
Balancing Open, Honest Spontaneity With Steady, Polished Consistency
Which Way?
155(1)
As True As Possible
156(1)
A Marriage of Necessity
157(1)
Body Maneuvers
158(11)
The Acting Space
158(2)
Acting Areas
160(1)
Stage Movement
161(2)
Movement As Technique
163(5)
Onstage/Offstage Comparisons
168(1)
Voice Maneuvers
169(5)
Vocal Directions
170(2)
Vocal Technique
172(2)
Improvisation and Freedom
174(13)
Improv Ground Rules
174(1)
Basic Awareness Improvs
175(1)
Exposure
175(1)
Reactions
176(1)
Joining
177(2)
Concentration
179(1)
Selectivity
180(2)
Nonsense
182(1)
Calls
183(1)
Transformations
184(2)
Blending and Balancing
186(1)
Notes
187(1)
Scene Study
188(35)
Discovering Character Through Script
Scene Selection
189(4)
Scene Suggestions
189(4)
Script Analysis
193(3)
Cutting The Scene
196(2)
Character Analysis
198(6)
The Three I's: Investigation, Inference, Invention
198(3)
Abstracting
201(3)
Staging
204(2)
Script Awareness Improvs
206(4)
Characters Offstage
206(2)
Characters Onstage
208(2)
Keys
210(1)
Shaking up the scene
210(11)
Character Explorations
211(8)
Character Confidence
219(2)
Notes
221(2)
Performance Process
223(27)
Recognizing Standard Procedure and Appropriate Behavior From First Audition Through Closing Night
Acting Etiquette
224(12)
Taking Time
224(3)
Checklist: From Pre-Audition to Pre-Rehearsal
227(3)
Rehearsing Outside of Rehearsal Checklist: From Rehearsal Through
230(1)
Checklist: From Rehearsal Through Performance
231(5)
Adaptations
236(13)
Adapting Show Process to Class Process
236(1)
Schedules and Objectives
237(1)
Memorizing
238(1)
Working with a Director, Coach, or Teacher
239(1)
Working without a Director
240(1)
Working with a Non-Director
241(1)
Working with Untrained Observers
242(2)
Criticism: Give and Take
244(1)
Process vs. Product
245(1)
Kiss the Line Goodbye
246(1)
Offstage Process
247(1)
Circular Experience
248(1)
Notes
249(1)
Acting Anticipated
250(25)
Setting Goals for the Future Which Allow Both Artistic Growth and Personal Satisfaction
Looking to the Future
250(1)
Is the Art for You? Are You for It?
251(1)
Training Objectives
252(16)
Production-Proof Actors
253(1)
Post-Audition Mortem
254(2)
Constant Reminders
256(4)
General Casting
260(5)
Post-Application Mortem
265(1)
Interviews
266(2)
Personal Objectives
268(5)
Choosing Partners and Playmates
268(1)
Theatre in Your Life
269(1)
Casting Yourself
270(2)
Living Fully---Onstage and Off
272(1)
Notes
273
Exercises
Audition Observation
261(3)
Choices
264(1)
Offstage Auditions
265(10)
APPENDICES 275(32)
Appendix A My Acting History
277(2)
Appendix B Acting Observation
279(2)
Appendix C Physical Life Observation
281(2)
Appendix D Vocal Life Observation
283(2)
Appendix E Open Scene Scenario
285(2)
Appendix F Open Scene Score
287(3)
Appendix G Observing Stanislavski's System
290(3)
Appendix H Script Analysis
293(2)
Appendix I Character Analysis
295(6)
Appendix J Audition Observation
301(2)
Appendix K Sample Scene: The Rehearsal
303(3)
Appendix L Books for Further Study
306(1)
Index 307

Customer Reviews

Average Review:

Write a Review

and post it to your social network

     

Most Helpful Customer Reviews

See all customer reviews >