Free to Act: An Integrated Approach to Acting / Edition 2by Mira Felner
Pub. Date: 06/06/2003
Free to Act presents a holistic approach to actor training that integrates physical and psychological technique. Its integrated approach emphasizes the idea that the body informs the mind and that emotion is rooted in physical action. Providing a carefully developed system of training, Free to Act guides the student-actor through the complex process/i>/i>
Free to Act presents a holistic approach to actor training that integrates physical and psychological technique. Its integrated approach emphasizes the idea that the body informs the mind and that emotion is rooted in physical action. Providing a carefully developed system of training, Free to Act guides the student-actor through the complex process by which an actor is formed.
- Publication date:
- Edition description:
- Second Edition
- Product dimensions:
- 5.90(w) x 9.00(h) x 0.70(d)
Table of ContentsEach chapter concludes with a summary.
The Nature of the Dramatic Situation.
Acting in the Dramatic Situation.
Understanding Acting Technique.
Acting Through Improvisation.
I. PREPARING THE BODY TO ACT.
Balance, Coordination, Flexibility, and Strength.
The Actor's Neutral.
Feeling the Voice.
The Process of Vocal Production.
Sound and Speech.
Taking Pleasure from Sound.
Opening the Vocal Passage.
Sound and Emotion.
Sound and Movement Integration.
Words and Feelings.
3. Harnessing Energy.
Life Energy and Theatrical Energy.
Centering and Energy.
Purpose, Concentration, and Energy.
Environment as Physical Energy.
Character and Energy.
4. Developing Trust Through Physical Sharing.
Breaking Down Barriers.
Eliminating the Fear of Touching.
Surrendering Physical Control.
Shaping and Sharing and Improvisation.
5. The Warm-Up.
Creating the Warm-Up.
Relating the Warm-Up to the Work.
II. EMBODYING THE DRAMATIC SITUATION.
6. Communicating on Stage.
Listening and Taking In.
Personalization and Subtext.
7. Given Circumstances.
Physicalizing the Given Circumstances.
Justification Through Given Circumstances.
Improvising the Given Circumstances.
Integrating the Given Circumstances.
Endowing the Given Circumstances with Emotional Meaning.
8. Objectives and Actions.
Objectives and Action Verbs.
Objectives Reflect Character and Circumstances.
Objectives and Obstacles.
Objectives and Actions as Tactical Adjustments.
9. The Psycho-Physical Connection.
Inner Action Justifies Physical Action.
Making Strong Physical Action Choices.
Speech Is Action.
Action, Movement and Gesture.
Action Before Emotion or Emotions Before Action?
III. UNDERSTANDING THE SCRIPT.
10. Reading a Play for Performance.
The Process of Interpretation.
Superobjective and Dramatic Action.
Character and Dramatic Action.
Tempo and Rhythm.
The Scene as Microcosm of the Play.
11. Entering Your Character's World.
Discovering Your Character's Environment.
Who--The Start of the Search for Psychology of Character.
Writing a Character Biography.
The Psychological Past as Action in the Present.
12. Scoring the Scene.
Beats and Moments.
Scoring the Beats.
Scoring the Action.
Line Readings as Spoken Action.
Building Beats and Actions into a Scene.
IV. THE INTEGRATED PROCESS.
13. Creating a Character.
Thinking as Your Character.
Establishing Character Center.
Character Rhythm and Tempo.
Character Alignment and Walk.
Voice and Character.
Dressing a Character.
Personal and Costume Props.
14. The Rehearsal Process.
The Undirected Scene.
Rehearsal as Experiment and Exploration.
Late Rehearsal Check-Up.
Preparing a Monologue.
Working with a Director.
Glossary of Theatrical Terms.
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