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 3
... Remember , you do not throw away one connection when you move to another . When you work on connecting to the other , you do not drop connection to yourself . Although one level of con- nection may modify another , you are in the ...
... Remember , you do not throw away one connection when you move to another . When you work on connecting to the other , you do not drop connection to yourself . Although one level of con- nection may modify another , you are in the ...
Seite 111
... Remember that no human being possesses one trait only , and the character's truth requires that at least a tinge of the other traits color the dominant one.40 CHARACTER EXERCISE 3 Determine a dominant self for the following characters ...
... Remember that no human being possesses one trait only , and the character's truth requires that at least a tinge of the other traits color the dominant one.40 CHARACTER EXERCISE 3 Determine a dominant self for the following characters ...
Seite 140
... Remember , the character wants to be witnessed , even if you don't . Mechanical projection can lead to pushing , whereas inclusion brings the audience in without strain . 2. Think of the audience not as an amorphous mass but as a sin ...
... Remember , the character wants to be witnessed , even if you don't . Mechanical projection can lead to pushing , whereas inclusion brings the audience in without strain . 2. Think of the audience not as an amorphous mass but as a sin ...
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