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 12
... vulnerability . And being vulnerable means that one is open to being hurt . In real life , we try to avoid this . But in the creative space , all feelings are both useful and beautiful . Char- acters need your tears , your rage , your ...
... vulnerability . And being vulnerable means that one is open to being hurt . In real life , we try to avoid this . But in the creative space , all feelings are both useful and beautiful . Char- acters need your tears , your rage , your ...
Seite 13
... vulnerable . When we are told to be more vulnerable , most of us see it as code for crying . If you show real tears , then you are being vulnerable . And access to tears is certainly a part of vulnerability . But we need to see the word ...
... vulnerable . When we are told to be more vulnerable , most of us see it as code for crying . If you show real tears , then you are being vulnerable . And access to tears is certainly a part of vulnerability . But we need to see the word ...
Seite 109
... vulnerable self is Blanche DuBois from A Streetcar Named Desire . Another is Willy Loman from Death of a Salesman . Yakim points out that though both these characters are vulnerable - self characters , they are vul- nerable in very ...
... vulnerable self is Blanche DuBois from A Streetcar Named Desire . Another is Willy Loman from Death of a Salesman . Yakim points out that though both these characters are vulnerable - self characters , they are vul- nerable in very ...
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