Free to Act: An Integrated Approach to ActingFree to Act presents a holistic approach to actor training that integrates physical and psychological technique. Its integrated approach emphasizes the idea that the body informs the mind and that emotion is rooted in physical action. Providing a carefully developed system of training, Free to Act guides the student-actor through the complex process by which an actor is formed. |
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Page xiii
... Torso Tension Release 3.5 Viewing the Body in 1.8 Alignment Three Dimensions 1.9 Sensing the Central Axis 3.6 Keeping the Energy Flow 1.10 The Pendulum 3.7 Image and Energy— 1.11 Building the Spine Changing Weight 1.12 Sensing the ...
... Torso Tension Release 3.5 Viewing the Body in 1.8 Alignment Three Dimensions 1.9 Sensing the Central Axis 3.6 Keeping the Energy Flow 1.10 The Pendulum 3.7 Image and Energy— 1.11 Building the Spine Changing Weight 1.12 Sensing the ...
Page 60
... Torso as Energy Source The source of physical and emotional energy is in the torso . As the center of breath and gravity , the torso is a vital area for the actor . Because the most vulnerable parts of our being - heart , guts ...
... Torso as Energy Source The source of physical and emotional energy is in the torso . As the center of breath and gravity , the torso is a vital area for the actor . Because the most vulnerable parts of our being - heart , guts ...
Page 74
... torso . This is because we are still protective of our body center . We therefore have to work hard to involve the torso in expressive activity . This is a point to which we will return repeatedly throughout our work . □□□ Exercise ...
... torso . This is because we are still protective of our body center . We therefore have to work hard to involve the torso in expressive activity . This is a point to which we will return repeatedly throughout our work . □□□ Exercise ...
Contents
Getting Ready to Act | 1 |
PARTI PREPARING THE BODY TO | 13 |
RESPIRATION | 24 |
Copyright | |
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achieve acting class acting technique action choices actor adjust affect alignment audience behavior body center breath CATHERINE chapter character's superobjective chest choose communication conflict connection consonants Constantin Stanislavski costume create creative David Mamet determine develop discover dramatic action dramatic situation emotional energy flow Exercise exhalation expression falling action FIGURE focus gesture give given circumstances Glass Menagerie goal head imaginary imagination important improvisation inhale inner action integrated justify keep Laurence Olivier Michael Chekhov movement muscles Note obstacles partner pelvis performance personal psychology physical action play playwright plot prop psychological psychophysical reflect rehearsal relationship relaxed release Repeat resonance respiration respiratory response reveal rhythm and tempo role score of beats sense soft palate sound specific spine stage Stanislavski sternum Streetcar Named Desire structure tactical tempo and rhythm tension theatre theatrical through-action torso verb vertebra vocal voice vowel warm-up words