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 83
... discover the thought that the words convey . Macbeth is saying that he cannot feel anymore . He is numb . He comments on this , because he is surprised to note his lack of affect , his lack of reaction . He is surprised not by what he ...
... discover the thought that the words convey . Macbeth is saying that he cannot feel anymore . He is numb . He comments on this , because he is surprised to note his lack of affect , his lack of reaction . He is surprised not by what he ...
Seite 101
... discover how your responses differ from , or correspond to , the character's . Mark the places in the script where your personal responses differ . Those are spots where bridges need to be built ; they contain important clues as to ...
... discover how your responses differ from , or correspond to , the character's . Mark the places in the script where your personal responses differ . Those are spots where bridges need to be built ; they contain important clues as to ...
Seite 135
... discover the director wants them to talk louder , find more " energy , " " pick up the pace , " " kill the pauses , " and " project . " All these statements are directions meant to reach an audience that isn't supposed to be there . So ...
... discover the director wants them to talk louder , find more " energy , " " pick up the pace , " " kill the pauses , " and " project . " All these statements are directions meant to reach an audience that isn't supposed to be there . So ...
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