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 32
... physically . You may find yourself pulling back and nodding your head . If so , let it happen and speak from the feeling that engendered that physical- ity . Try not to judge the impulse , let it express . It doesn't matter if it is ...
... physically . You may find yourself pulling back and nodding your head . If so , let it happen and speak from the feeling that engendered that physical- ity . Try not to judge the impulse , let it express . It doesn't matter if it is ...
Seite 137
... physically , but keep your intentions , actions , and attention on Creon and Polynices's grave . How does this feel ? What adjustments did you have to make ? INCLUSION EXERCISE 3 Perform the same scene again , only this time , play it ...
... physically , but keep your intentions , actions , and attention on Creon and Polynices's grave . How does this feel ? What adjustments did you have to make ? INCLUSION EXERCISE 3 Perform the same scene again , only this time , play it ...
Seite 140
... physically , and vocally . Do not overfill ; do not un- derfill . In small spaces , actors sometimes overproject as if they were outdoors in a Greek theater , and the spectators wonder why the characters are shouting . Do not be afraid ...
... physically , and vocally . Do not overfill ; do not un- derfill . In small spaces , actors sometimes overproject as if they were outdoors in a Greek theater , and the spectators wonder why the characters are shouting . Do not be afraid ...
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