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On Acting: A Handbook for Today's Unique American Actor de Steven Breese

On Acting: A Handbook for Today's Unique American Actor

Autor Steven Breese
en Limba Engleză Paperback – 15 ian 2013
To support a new generation of actors/acting teachers by coupling fresh ideas and new approaches with the best proven methods and practices. On Acting is written primarily for the contemporary American actor. It strives to address the acting process with an eye toward the performance culture and requirements that exist today. It is a book for the new twenty-first century artist—the serious practical artist who seeks to pursue a career that is both fulfilling and viable.
The text features a balance of philosophy, practical advice, anecdotal evidence/experiences and a wide variety of acting exercises/activities. Also included is the short Steven Breese play "Run. Run. Run Away" and an example of a scene score from that play.
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Specificații

ISBN-13: 9781585104550
ISBN-10: 1585104558
Pagini: 268
Ilustrații: photos and diagrams
Dimensiuni: 152 x 229 x 27 mm
Greutate: 0.43 kg
Ediția:First Edition
Editura: Hackett Publishing Company,Inc
Colecția Focus
Locul publicării:United States

Recenzii

“It's about time this rational, actor-centric, and systematic approach to acting theory was made widely available to the many young (and old) artists who haven't had the benefit of learning from Steven Breese directly.”
- Danny Devlin, Professional Actor/Former Student

"I believe I have already mentioned many of the strong points. Yes, I would definitely like to use this book in Acting II and maybe in Acting I.  It is a book that is similar enough to satisfy those professors who like a very traditional approach to training, yet different enough to add excitement to the training process with professional examples and great exercises."
- James R. Hartman, Schoolcraft College

"Strongest element is the exercises. Easy to follow and to visualize. I would recommend this text as supplemental reading."
- Bette Pettigrew, Johnson County Community College

"As an educator and director for the past 40+ years, I highly recommend On Acting. Steven's writing style is totally engaging, informative, and thought provoking. He speaks from experience and experiences, exemplified by personal anecdotes, classroom examples, asides, quotes, delightful humor and just the right amount of humility. It all works. No matter what your level of theatrical expertise, this book is for you."
- Catherine Davis, Professional Director & Educator

"I can already say that On Acting should be required reading for any actor or anyone who teaches acting. It is beautifully and interestingly written. It gives due reverence to the art and craft of acting without being pompous or pretentious. And a quick scan of the sections on process and technique tells me that following your "method" will turn out actors who really are 'actors'."
- Ron Reid, Professional Actor

On Acting is written to support a new generation of actors/acting teachers by coupling fresh ideas and new approaches with the best proven methods and practices. It is written primarily for the contemporary American actor and it strives to address the acting process with an eye toward the performance culture and requirements that exist today. It is a book for the new twenty-first century artist—the serious practical artist who seeks to pursue a career that is both fulfilling and viable.

“It's about time this rational, actor-centric, and systematic approach to acting theory was made widely available to the many young (and old) artists who haven't had the benefit of learning from Steven Breese directly.”
- Danny Devlin, Professional Actor/Former Student

"I believe I have already mentioned many of the strong points. Yes, I would definitely like to use this book in Acting II and maybe in Acting I.  It is a book that is similar enough to satisfy those professors who like a very traditional approach to training, yet different enough to add excitement to the training process with professional examples and great exercises."
- James R. Hartman, Schoolcraft College

"... [the exercises are] easy to follow and to visualize."
- Bette Pettigrew, Johnson County Community College

Steven Breese has enjoyed a national and international acting, directing, and playwriting career that has spanned more than 30 years. He is currently serving as Dean of the College of Arts & Humanities at Christopher Newport University.

Cuprins

Table of Contents
Before We Get Started xi
Acknowledgment xiv
Forward xv
ACT I: The Actor’s Work
Lesson 1: On Being an Actor 1
  • Since Stanislavski 3
    • Historical Perspective
    • Taking Ownership
    Living Truthfully in Imaginary Circumstances 6
    • Characteristics and Meanings
    • Points of View
    • Interactions
    • Being Alive
    • Public Anxiety
    • Divide and Release
    Thinking like an Actor 14
    • Shifting Into Reverse
    • Reflection, Curiosity and Aesthetic
    Summary: Lesson 1 17 Activities and Exercises: Journal 18
    Lesson 2: On Beginning 21
    • The Beginners Mind 22
      • Five Assumptions
      • The Necessity of Failure
      The Naked Truth 25
      • Scene by Scene
      • Magic in the Making
      • Stuff that’s in Our Way
      Zero 32
      • Finding Zero
      • Using Zero
      “Just Say the Words” 34 Summary: Lesson 2 35 Activities and Exercises: Present Tense,Image and Text, Finding Zero 36
      Lesson 3: On Action 41
      • Making Human Beings 41
      • What Do You Want? 43
      • Say It / Play It 45
        • Tactics
        • Actions
        • Common Playable Actions
        Point of Impact 50
        • What is at Stake?
        The Action Cycle 52 The Sensation of Acting 53 Summary: Lesson 3 54 Activities and Exercises: Improving Action 55
        Lesson 4: On Obstacle 59
        • The Essential Struggle 59
          • Essential Elements
          Without and Within 60
          • Those Without
          • Those Within
          About-Face the Fear 62 Summary: Lesson 4 62 Activities and Exercises: The Jump 63
          Lesson 5: On Public Isolation 65
          • Intimate Strangers 65
          • Concentration 66
          • Split Concentration 68
          • Summary: Lesson 5 69
          • Activities and Exercises: Mirror Exercise, One-Word Sentences, Entrance/Exit 69
          Lesson 6: On Judgment (and Risk) 73
          • Just Do, Don’t Judge 73
            • Self-Censorship
            • Risk
            It Should Cost You Something 75
            • Ready, Render, Reflect, Repeat
            The Magic “AND” 76 “The Best Day of the Year” 77 Summary: Lesson 6 78 Activities and Exercises: Sense Recalls 79
            Lesson 7: On Intimacy 83
            • The Morning After 83
            • The Sensuality of the Process 84
              • What We See
              • What We Hear
              • Inner Monologue
              • What We Smell and Taste
              • What We Touch
              One Kiss, Many Parts 86
              • Relationship and Backstory
              • Obstacle and Risk
              • Mystery
              • Anticipation and 1000% Listening
              • Decision
              • Emotional Arc
              • Checking In
              “Sterling Was Never the Same” 92 Summary: Lesson 7 92 Activities and Exercises: Sense and Sensation 93
              Lesson 8: On Emotion 95
              • Emotion and Acting 96
                • Using Emotion
                Tying Emotion to Action 98 Vulnerability 99
                • Accepting Offers
                Summary: Lesson 8 101 Activities and Exercises: Offer/Acceptance, Emotional Recalls 101
                Lesson 9: On Repetition 103
                • Do It 100 Times 103
                • Process of Building a Scene 105
                  • Read-through
                  • Memorize Lines / Own the Words
                  • Five Scene Study Questions
                  • Putting the Scene On its Feet
                  • Stage Directions
                  • The Four “Rs”
                  Now Do it the First Time 111 Summary: Lesson 9 112 Activities and Exercise 113
                  Lesson 10: On Improvement 115
                  • The Big Secret 115
                    • Breakthroughs and Little Steps
                    • Stagnation and Patience
                    Are You Trying? 118 Much Ado About the Word 118 Summary: Lesson 10 119 Activities: Stop Trying 120
                    ACT II: The Actor’s Toolbox
                    Lesson 11: On Script Analysis 123
                    • Dramatic Construction 124
                      • Crisis
                      Getting Basic 126
                      • What Is?
                      • What Probably Is?
                      • What Might, Could or May be?
                      • What’s Missing?
                      • What Do You Want Overall?
                      Getting Specific 129
                      • Scene’s Given Circumstances
                      • What’s the Episode?
                      • Starting in the Middle
                      • Characters and Relationships
                      • What’s New? Discoveries, Changes and Decisions
                      • Change in Relationship
                      • Change that Drive Decisions
                      Breaking Down the Scene 133
                      • Beats and Beat Change
                      • Dominant Tactics/Beats
                      • Score the Scene
                      Putting it Together 137 Summary: Lesson 11 139 Activities and Further Study 139
                      Lesson 12: On Movement 141
                      • Strength 142
                        • Thoughts on Dance
                        Flexibility 144
                        • The Spine
                        • The Cat
                        • The Serpent
                        • The Question Mark
                        • Rolling and Stacking
                        • Rotation
                        • Side (Obliques)
                        Relaxation 149
                        • The Center
                        Control 151
                        • Specificity, Economy of Movement and Character Traits
                        • Posture
                        • Stylized Movement, Period Movement and Dance
                        • Stage Violence and Combat
                        Freedom 155 Summary: Lesson 12 156 Activities and Further Study: Actor’s Physical Warm-up 157
                        Lesson 13: On Stillness 161
                        • Vibrancy Inside 161
                        • Internal Focus 162
                        • Summary: Lesson 13 163
                        • Activities and Further Study 163
                        Lesson 14: On Voice and Speech 165
                        • Breath and Breathing 166
                        • Releasing Sound 167
                        • Pitch and Resonance 168
                        • Language 169
                        • Diction and Articulation 171
                          • Voiced vs. Unvoiced
                          • Stops, Fricatives, Approximates, Affricates and Laterals
                          Unity of Voice and Body 175 Shaping Language Onstage 175
                          • Playing With Language
                          • Practical Measures
                          • Checklist to Assist Use of Voice and Text
                          A Few Notes on Singing 178 Summary: Lesson 14 179 Activities and Further Study 179
                          Lesson 15: On Character 181
                          • Asking the Right Questions 182
                            • What Did the Playwright Write?
                            • What is Required Physically?
                            • Social, Educational and Economic Status
                            • Psychological and Moral Outlook
                            • Dominant Tactic
                            • Core Value(s)
                            Ownership 186
                            • Falling in Love
                            Character vs. Characteristics 188 Variety 188 Summary: Lesson 15 189 Activities and Further Study: Exercise: Fantasy Recalls 189
                            Lesson 16: On Stuff 191
                            • Stuff in Our Hands 192
                              • Helping to Define Character
                              • Hand Props as Stage Business
                              • Creative Opportunities
                              Stuff on the Stage 195 Stuff We Wear 196
                              • Research
                              • Discussions
                              • Wearing What When?
                              • How You Wear It
                              Summary: Lesson 16 197 Activities and Further Study 198
                              Lesson 17: On Rehearsal 201
                              • First Rehearsal 203
                              • The Actor’s Job 203
                                • Blocking
                                • Scene Work/Scene Rehearsal
                                • Work-Through/Run-Through
                                • Designer Run-Through
                                • Technical rehearsals and Cue-To-Cue
                                • Dress Rehearsals.
                                Completion 207 Summary: Lesson 17 208
                                Lesson 18: On Vocabulary / Glossary of Terms 209
                                Lesson 19: On the Future 221
                                Appendix A: “Run. Run. Run Away.” A short play by Steven Breese 225
                                Appendix B: Scene score for “Run. Run. Run Away.” 245
                                Bibliography 251