Acting is Believing
Wadsworth/Thomson Learning, 2004 - Performing Arts - 300 pages
ACTING IS BELIEVING emphasizes that "an actor must believe to make his audience believe." ACTING IS BELIEVING is a classic text in the field, having been used by many generations of actors and now updated to speak to a new generation of acting students. It has a strong theoretical grounding, while providing numerous exercises to help the acting student apply the key concepts of actor training. It maintains the three-part structure of Actor; the Actor and The Play; and The Actor and the Production.
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Discovering the Physical Actions
Finding a Purpose
Approaching the Creative State
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ability acter acting actors artistic audience audition August Wilson beginning behavior believe Beth Henley body character character autobiography character's motivating force concentrate Constantin Stanislavski create creative David Rabe develop dialogue director discover dramatic dramatist dress emotions ence exercise experience explore external feel fifteen seconds given circumstances Hagen Harold Clurman Hold for fifteen images imagination important improvisation inner monologues interpretation James McLure John Patrick Shanley lines logical look meaning movement Neil Simon observation obstacle partner Paula Vogel performance person physical actions play's playwright problem production puppy reading rehearsal relate relationship relaxation Remember Repeat Repertory responsibility role Romeo and Juliet scene script sequence Shakespeare simple objective Sonia Moore speak specific speech stage Stanislavski System subtext super-objective talent technique tempo-rhythm tension Theatre Arts Books tion tors truth Tybalt understand Uta Hagen verb verbal action walking words York