The Actor's Wheel of Connection: How to Integrate Your Skills and Refine Your PerformanceSmith and Kraus, 2005 - 160 Seiten Richard Brestoff's new book uses the image of the wheel with six spokes to examine the craft of acting. These six spokes represent an actor's connection to self, others, circumstances, text, character, and audience. Each point of connection is examined and experienced through specific exercises, always keeping in mind that when the wheel is in motion, the spokes disappear, as all great acting must. Richard Brestoff is also the author of The Great Acting Teachers and Their Methods (ISBN 1-57525-0128) and The Camera Smart Actor (ISBN 1-880399-76-8). |
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Seite 70
... Georgeanne , bridesmaids at the wedding reception of their friend Tracy , have a moment together . During the course of the scene , the married Georgeanne re- veals to Trisha that she had sex in a parking lot with Tracy's ex- boyfriend ...
... Georgeanne , bridesmaids at the wedding reception of their friend Tracy , have a moment together . During the course of the scene , the married Georgeanne re- veals to Trisha that she had sex in a parking lot with Tracy's ex- boyfriend ...
Seite 71
... GEORGEANNE : Oh . No. Neither one of us has ever mentioned it . So how do we approach such a situation ? We know from the description of this scene that the core conflict will center on the perception of Georgeanne , but the core ...
... GEORGEANNE : Oh . No. Neither one of us has ever mentioned it . So how do we approach such a situation ? We know from the description of this scene that the core conflict will center on the perception of Georgeanne , but the core ...
Seite 72
... Georgeanne tells Trisha that she had the best sex of her life with Tommy Valentine three months ago . This is the exchange : TRISHA : Yeah , but Georgeanne . Did he call you after that ? GEORGEANNE : No. TRISHA : OK , so here's this guy ...
... Georgeanne tells Trisha that she had the best sex of her life with Tommy Valentine three months ago . This is the exchange : TRISHA : Yeah , but Georgeanne . Did he call you after that ? GEORGEANNE : No. TRISHA : OK , so here's this guy ...
Inhalt
INTRODUCTION | 1 |
TROUBLESHOOTING | 16 |
PERSONALIZATION SCENES | 38 |
Urheberrecht | |
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acter acting actor actress adapted audience batteries begin behavior body bomb breath char character motto character objective character's thoughts Chekhov choices circumstances Claudius Cleveland connection core conflict CREON curvy deflected died hereafter Doll's House elements Elvsted emotion Evgeny Vakhtangov example explore explosive-withdrawn expression fear feeling Gayev Georgeanne give Glass Menagerie GUILDENSTERN Hamlet happen head Hedda Hedda Gabler humming-control impulse inner JON JORY keep laugh life-lie Little Italy look LOPAKHIN Lovborg Lyubov Macbeth means Michael Chekhov mother move Nina Olympia Dukakis Othello ourselves partner perceive performance PETER phrase play plot objective react reaction respond RICHARD BRESTOFF scene objective sense Shakespeare sometimes sound speak speech spoke Stockmann subtext talk tears tells tempo-rhythm thing THOMAS tion Tommy Valentine Trisha truth truthfully Twelfth Night voice vulnerable wife WOMAN words Yakim York