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 13
... feeling all the time , maybe not intense , peak emotions , but emo- tions nevertheless . But we have learned to submerge them , even manipulate them . We want to appear gracious , so that is what we try to show . We hide any ungracious ...
... feeling all the time , maybe not intense , peak emotions , but emo- tions nevertheless . But we have learned to submerge them , even manipulate them . We want to appear gracious , so that is what we try to show . We hide any ungracious ...
Seite 23
... feeling of playfulness floods him . From that feeling he says , MAN : Really ? Even though he sees there is more to his line , he first checks to see how she responds to his question . In fact , her smile is beginning to fade . See how ...
... feeling of playfulness floods him . From that feeling he says , MAN : Really ? Even though he sees there is more to his line , he first checks to see how she responds to his question . In fact , her smile is beginning to fade . See how ...
Seite 34
... feeling that what I'm seeing is pretty . But the boy is right ; he has articulated what I really feel . It isn't ... feeling , making sure she knows how he feels , MAN : I hate your guts . Feeling she had every right to bring him back ...
... feeling that what I'm seeing is pretty . But the boy is right ; he has articulated what I really feel . It isn't ... feeling , making sure she knows how he feels , MAN : I hate your guts . Feeling she had every right to bring him back ...
Inhalt
INTRODUCTION | 1 |
TROUBLESHOOTING | 16 |
PERSONALIZATION SCENES | 38 |
Urheberrecht | |
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Häufige Begriffe und Wortgruppen
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