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 28
... impulse . What does he do ? When you find that you have missed a first impulse or are just feeling nothing , ask your partner to repeat the line . But before he or she does , reconnect with them . Take time to look at each other again ...
... impulse . What does he do ? When you find that you have missed a first impulse or are just feeling nothing , ask your partner to repeat the line . But before he or she does , reconnect with them . Take time to look at each other again ...
Seite 32
... impulse , let it express . It doesn't matter if it is " appropriate " to the material . What matters is that it is your first impulse in reaction to your partner . If you are hurt by the way your partner is speaking to you , don't try ...
... impulse , let it express . It doesn't matter if it is " appropriate " to the material . What matters is that it is your first impulse in reaction to your partner . If you are hurt by the way your partner is speaking to you , don't try ...
Seite 33
... impulse , look back to your partner , let them affect you , and let a new impulse flash through you . The good news is there is always another impulse coming ; there is an un- limited supply . Sometimes in this exercise we domesticate ...
... impulse , look back to your partner , let them affect you , and let a new impulse flash through you . The good news is there is always another impulse coming ; there is an un- limited supply . Sometimes in this exercise we domesticate ...
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