A Balancing Act: The Development of Energize! a Holistic Approach to Acting

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A Balancing Act E. Chaulet, 2008 - Acting - 300 pages
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A holistic approach to acting. This book presents acting as a mind, body and spirit practice and actors as emotional athletes, spiritual stuntmen and stuntwomen exposed to a constant roller coaster of emotions. Going beyond where Michael Chekhov left off, it offers new acting techniques using discoveries from holistic and energy healing modalities. Answering an urgent -yet never addressed-need, this book offers invaluable tools to heal post-performance stress disorder and cutting edge information about recovering your Highest Creative Self, the essence of your character, and true emotional balance. Lisa Dalton, Co-founder, International Michael Chekhov Association, Award-Winning Actor/Producer/Director and Co-founder and Certifying Board, National Michael Chekhov Association wrote the Foreword. She says: "It is rare to find a subject that urgently needs to be discussed and about which too little is written. The need to train the entire being of the performing artist is just such a subject. Emmanuelle Chaulet's A Balancing Act is a godsend to performing artists of any sort. Knowing how to Energize allows us to endure and even thrive during the rise and fall, the constant state of transformation, the juggling of feelings, styles, jobs, and colleagues while maintaining an even keel." "Truly some of the freshest and most innovative 21st century contributions to the art of acting." says Mel Shrawder NYC AEA/SAG actor, Former Head of Performance, University of Miami, and faculty at the Michael Chekhov Acting Studio in NYC.
 

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"Truly some of the freshest and most innovative 21st century contributions to the art of acting," says Mel Shrawder, NYC AEA/SAG actor, former Head of Performance at the University of Miami and currently faculty at Michael Chekhov Acting Studio in New York. Lisa Dalton, Co-founder, International Michael Chekhov Association, Award-Winning Actor/Producer/Director and Co-founder and Certifying Board, National Michael Chekhov Association wrote the Forward. She says: "It is rare to find a subject that urgently needs to be discussed and about which too little is written. The need to train the entire being of the performing artist is just such a subject. Emmanuelle Chaulet's A Balancing Act is a godsend to performing artists of any sort. Knowing how to Energize allows us to endure and even thrive during the rise and fall, the constant state of transformation, the juggling of feelings, styles, jobs, and colleagues while maintaining an even keel." Sean O'Connor, NY actor, award-winning playwright (Circle Rep, La Mama) and winner of Hollywood s prestigious American Accolades Award comments: "A groundbreaking book written by a groundbreaking artist. Ms. Chaulet uses her vast experience as an actor and director to offer both a brilliant book on the craft of acting, and a comprehensive guide to the very difficult act of rebalancing the artist's energies once the performance is over. A MUST for any serious, contemporary performer." "The pattern of the energetic systems in the body indicates the personality with its joys and pains. A truly great character actor, although usually unaware, naturally changes their energetic systems when they are fully in character. Knowing how to do this consciously will help the actor arrive at their full character sooner and leave it faster when the acting is complete. Knowing how to get out of character by changing your energetic system back is a fast and important self-help skill. A Balancing Act by Emmanuelle Chaulet introduces this important skill to help you get to your character faster and leave it sooner. Nice job Emmanuelle." Nancy Risley, author, RYSE, Tools for Life, Holding Your Personal Power and Life Force and developer of RYSE.  

Contents

Chapter 1
1
Anther dimension
5
presence
11
Preparing and overpreparing
12
Chapter 11
15
Emotional Memory
16
Living the charaters life
20
Personal
23
Chapter 1X
133
Motion to emotion
134
Warmups
136
Chakra dance
137
balancing the chakras warn up
138
Going beyond where Michael Chekhov left off
140
objective and Organic Action Verbs
144
Expansioncontraction
146

Chapter 111
29
Observing actors
31
Discovering Polarity Therapy
33
Chapter 1v
37
What did i discover and why does energy awareness matter for an actor?
38
What is energy?
40
the tangible
41
How is this useful for an actor?you will ask
43
Vibration of a place and character
44
The mindbodyspirit connection
45
A Balancing Act
46
Chapter v
49
The seven major chakras
50
seventh chakra or crown chakra
52
sixth chakra or third eye
53
The fifth chakra or throat chakra
54
The third chakraor will center
56
The second chakra
57
The First chakre or base or root chakra
59
a multidimensional system
60
The ida and pingala
61
yin And yangMasculine and feminine Energies
62
Feminine And creative energy
63
masculine energy the container
64
Balancing Feminine and Masculine
65
The Flower of Life
66
Other elements pf the energetic system
71
The Highest Blueprint
72
The highest Creative self
73
A Whole
75
Chapter V1
77
Holerears residues and blocks
78
Cords and Tangles
79
expectations
82
Clearing the energetic system
84
Intent the power of thought
85
Raising our vibration
86
Negative energies polar opposites
88
Movement
89
Energy clearing medication
90
Energize preperformance Clearing long form
94
Chapter V11
99
Listening to the character befriending it
101
Peak Performance Visualization
102
Character blueprint
103
Luminous cord
105
Personal Space and dual consciousness
107
Letting the character lead
112
Private moment of the chatecter
113
Chapter V111
119
The voices in your head
122
voice dialogue
124
subpersonality work in RYSE
126
choosing The best inner vessel
128
Tuning your antenna
129
Sacred inner space
130
you cant always get what you want
148
Sensorizing Where? When?and the physical state of being
149
Chapter x
151
Stage fright
156
Resonance and Disowned Self
159
Expectations
163
Actorscan you love thyself
166
Chapter x1
171
Clara Schumann
172
Lord Byron
178
Chapter X11
183
Letting go after a performance or rehearsalrecenter
185
Final letting go after the run of the show
188
When you get stuck
192
Chapter X111
201
Athletes and stuntmen
202
A way of life
204
your mindbodyspirit id your instrument
205
Nutrition
209
Alcohol nicotine and drugs
213
Breathing
215
Sleep
217
Meditation
219
Connection to naturesolitude
223
Journals
227
A responsibility to the World
228
Chapter X1V
233
Energy takers
235
Creating your secret magic space
236
When they callplaces
238
Film Acting
240
Casting and auditions
242
Relationship on stage
243
Postpartum grieving
244
A sense of home
246
A sense oF purpose
248
Chapter xv
251
Atmospheres vibration
253
Letting character direct
256
Conclusion
259
Appendix 1
261
Appendix 2
263
STEP TWO Clearing Blocks5 minutes
267
STEP THREE Character Activation5 minutes
268
Appendix 3
270
Appendix 4
272
Appendix 5
279
Appendix 6
283
Artists and Wellness
285
PsychologySubpersonalities
286
Body and movement work
287
MetaphysicsSpirituality
288
Bibliography
291
About the Author
293
End Notes
297
Copyright

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