Acting Action: A Primer for Actors
Autor Hugh O'Gormanen Limba Engleză Paperback – 7 iun 2021
Focusing on playing action-one of the essential components of acting passed on to renowned acting teachers Earle Gister and Lloyd Richards by Paul Mann-Acting Action is divided into two parts: context and practice. The first section provides a thorough examination of the theory behind the core elements of playing action. The second section presents a step-by-step rehearsal guide for actors to integrate playing action into their preparation process.
Acting Action offers a foundation for how to get started and build the core of a performance. More precisely, it provides a practical guide for actors, directors, and teachers in the technique of playing action, addressing a void in the world of actor training by illuminating what exactly to do in the moment-to-moment act of acting.
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Specificații
ISBN-13: 9781538139295
ISBN-10: 1538139294
Pagini: 290
Ilustrații: 3 b/w photos
Dimensiuni: 155 x 229 x 21 mm
Greutate: 0.44 kg
Editura: Bloomsbury Publishing
Colecția Rowman & Littlefield Publishers
Locul publicării:New York, United States
ISBN-10: 1538139294
Pagini: 290
Ilustrații: 3 b/w photos
Dimensiuni: 155 x 229 x 21 mm
Greutate: 0.44 kg
Editura: Bloomsbury Publishing
Colecția Rowman & Littlefield Publishers
Locul publicării:New York, United States
Cuprins
Acknowledgements
Foreword
Preface
Introduction
Part 1: Context
Chapter 1. The Space Between
The Essence of Acting
The Beautiful Game of Acting
Ma
Acting is Like Love
When the Penny Drops
Dissolving the Ego
Daily Self & Artistic Self
Chapter 1 Summary
Chapter 2. Acting is Action
The Two Actions
The Script & Invisible Action
Performance & Visible Action
Nomenclature
Feelings
Chapter 2 Summary
Chapter 3. Acting Defined
Living
Verisimilitude
Believably vs. Truthfully
Imaginary Circumstances
The 'As if."
Precise Repeatability
The 'What'
The 'How'
Complete Spontaneity
The River of Action
Chapter 3 Summary
Chapter 4. Playing Action
The Action
The Objective
The Need
The Event
The Super-Objective (Hopes & Dreams)
Play's the thing.
Chapter 4 Summary
Chapter 5. Sculptors of Energy
Lifeforce
Attention
Paying Attention
Talent is a Lifestyle
Properties of Thought
Targets of Attention
Curiosity
Sourcing
The Release
The Allowing
Chapter 5 Summary
Chapter 6. Deeper Not Wider
Intimate Harmony
The Cost
Artistic Love
Courage
Landscapes of Paradox
Perception
Reception
Chapter 6 Summary
Part 2: Practice
Chapter 7. Invisible Action - Cognitive Analysis (Preparation)
Reading the Script (or Becoming Event Detectives)
The Arc of Action
The Five questions
Coming from some place
Chapter 8. Visible Action - Physical Analysis (Rehearsal)
Études, Actions and the Event
Action and Counter Action
The Obstacle
Sourcing Your Scene Partner
Sourcing Images
Evaluation
Relationships
Chapter 9. Advice from the Front
Unconscious Competence (or forgetting technique)
Loving the plateau
The Beginner's Mind (or remaining an eternal student)
Confidence and Antifragility
Fail Better
Objective Observation
Luck
Role vs. Character
Character vs. Characterization
Competition
Frustration (the first sign of creativity)
Attention vs. Concentration
Creative Individuality & Interpretation
Birds and Frogs
On Being Sexy...
The Label Libel
Finding the Right Teacher
Gratitude
10. Epilogue
Bibliography
Notes
Index
About the Author
Foreword
Preface
Introduction
Part 1: Context
Chapter 1. The Space Between
The Essence of Acting
The Beautiful Game of Acting
Ma
Acting is Like Love
When the Penny Drops
Dissolving the Ego
Daily Self & Artistic Self
Chapter 1 Summary
Chapter 2. Acting is Action
The Two Actions
The Script & Invisible Action
Performance & Visible Action
Nomenclature
Feelings
Chapter 2 Summary
Chapter 3. Acting Defined
Living
Verisimilitude
Believably vs. Truthfully
Imaginary Circumstances
The 'As if."
Precise Repeatability
The 'What'
The 'How'
Complete Spontaneity
The River of Action
Chapter 3 Summary
Chapter 4. Playing Action
The Action
The Objective
The Need
The Event
The Super-Objective (Hopes & Dreams)
Play's the thing.
Chapter 4 Summary
Chapter 5. Sculptors of Energy
Lifeforce
Attention
Paying Attention
Talent is a Lifestyle
Properties of Thought
Targets of Attention
Curiosity
Sourcing
The Release
The Allowing
Chapter 5 Summary
Chapter 6. Deeper Not Wider
Intimate Harmony
The Cost
Artistic Love
Courage
Landscapes of Paradox
Perception
Reception
Chapter 6 Summary
Part 2: Practice
Chapter 7. Invisible Action - Cognitive Analysis (Preparation)
Reading the Script (or Becoming Event Detectives)
The Arc of Action
The Five questions
Coming from some place
Chapter 8. Visible Action - Physical Analysis (Rehearsal)
Études, Actions and the Event
Action and Counter Action
The Obstacle
Sourcing Your Scene Partner
Sourcing Images
Evaluation
Relationships
Chapter 9. Advice from the Front
Unconscious Competence (or forgetting technique)
Loving the plateau
The Beginner's Mind (or remaining an eternal student)
Confidence and Antifragility
Fail Better
Objective Observation
Luck
Role vs. Character
Character vs. Characterization
Competition
Frustration (the first sign of creativity)
Attention vs. Concentration
Creative Individuality & Interpretation
Birds and Frogs
On Being Sexy...
The Label Libel
Finding the Right Teacher
Gratitude
10. Epilogue
Bibliography
Notes
Index
About the Author
Recenzii
Acting Action: A Primer for Actors is a gem! O'Gorman distills such complex information into learn-able (and teach-able) bites. The result is a delicious meal for anyone who wants a real technique to guide his or her path to artistry as an actor.
A book for breakthroughs! It presents comprehensive techniques and tools with warmth and humanity; myriad diagnostic and performative keys are shared in a thoughtful, approachable, and deeply relatable manner. A compelling read that translates into practical, dynamic touchstones for building an active and fulfilling craft-all illuminated by the joy the author so clearly finds in delving into the ineluctable, elusive magic of stage and screen performance.
Hugh O'Gorman has pulled together his lifetime of experience as actor and acting teacher-not to mention as a soccer player-into a wonderfully comprehensive, eminently readable book on acting in general, and on acting training and work on scene and character. The synthesis between Stanislavsky, Earle Gister, and Michael Chekhov is truly remarkable, and the progression of the exercises is just right. It is a tremendously rewarding treasure house of professional guidance for actors, teachers, and directors alike.
A comprehensive and clear-eyed distillation of some of the core tenets of acting technique, O'Gorman's primer beautifully demystifies the craft for young actors. Finally someone has re-articulated some of the substantial contributions of Lloyd Richards and Earle Gister to our understanding of what acting is. This is an important addition to the canon of material for actors in training.
I wish I'd had this book when I started teaching acting thirty years ago. Hugh O'Gorman is omnivorous. I've never known someone so hungry to understand-and explain in the most practical terms-acting technique and training from every possible angle. He's read everything remotely related to the field, and he's developed an approach to training that's broadly comprehensive and cohesive, analytical and intuitive-one that honors the wisdom of master teachers, many of whom he's studied with. Acting Action is practically its own syllabus. In 10 chapters, its author lays out every aspect of actor preparation-all adding up to a highly effective approach to playing action onstage. This book is one-stop-shopping for teachers of acting.
A book for breakthroughs! It presents comprehensive techniques and tools with warmth and humanity; myriad diagnostic and performative keys are shared in a thoughtful, approachable, and deeply relatable manner. A compelling read that translates into practical, dynamic touchstones for building an active and fulfilling craft-all illuminated by the joy the author so clearly finds in delving into the ineluctable, elusive magic of stage and screen performance.
Hugh O'Gorman has pulled together his lifetime of experience as actor and acting teacher-not to mention as a soccer player-into a wonderfully comprehensive, eminently readable book on acting in general, and on acting training and work on scene and character. The synthesis between Stanislavsky, Earle Gister, and Michael Chekhov is truly remarkable, and the progression of the exercises is just right. It is a tremendously rewarding treasure house of professional guidance for actors, teachers, and directors alike.
A comprehensive and clear-eyed distillation of some of the core tenets of acting technique, O'Gorman's primer beautifully demystifies the craft for young actors. Finally someone has re-articulated some of the substantial contributions of Lloyd Richards and Earle Gister to our understanding of what acting is. This is an important addition to the canon of material for actors in training.
I wish I'd had this book when I started teaching acting thirty years ago. Hugh O'Gorman is omnivorous. I've never known someone so hungry to understand-and explain in the most practical terms-acting technique and training from every possible angle. He's read everything remotely related to the field, and he's developed an approach to training that's broadly comprehensive and cohesive, analytical and intuitive-one that honors the wisdom of master teachers, many of whom he's studied with. Acting Action is practically its own syllabus. In 10 chapters, its author lays out every aspect of actor preparation-all adding up to a highly effective approach to playing action onstage. This book is one-stop-shopping for teachers of acting.