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 26
... scene should go ? Because they think that is what the scene is asking of them . Be- cause that's the way it looks on the page . Because they want to ful- fill what they see . If it was an audition scene , this is how they would prepare ...
... scene should go ? Because they think that is what the scene is asking of them . Be- cause that's the way it looks on the page . Because they want to ful- fill what they see . If it was an audition scene , this is how they would prepare ...
Seite 71
... scene progresses that the core conflict will emerge . At the begin- ning , it is not yet fully present . This , of course , is not the only or even the best choice for the beginning of this scene . The point is that not every moment of a ...
... scene progresses that the core conflict will emerge . At the begin- ning , it is not yet fully present . This , of course , is not the only or even the best choice for the beginning of this scene . The point is that not every moment of a ...
Seite 73
... scene to change Trisha's mind or to drop her jaw . The actress must find what is playable for the beginning of the scene , and neither of these ideas is particularly useful as a beginning or initial intention . Many scenes begin with an ...
... scene to change Trisha's mind or to drop her jaw . The actress must find what is playable for the beginning of the scene , and neither of these ideas is particularly useful as a beginning or initial intention . Many scenes begin with an ...
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