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 127
... tactical actions , tactics , and strategies . They all refer to the same thing - what you , the actor , are playing now to obtain your major objective . Motivation is a term that was often used synonymously with objective . We now think ...
... tactical actions , tactics , and strategies . They all refer to the same thing - what you , the actor , are playing now to obtain your major objective . Motivation is a term that was often used synonymously with objective . We now think ...
Page 128
... tactical action . Can you delineate your process of developing tactical action ? □ The choices we make define who we are . Think how unique to you your tactics are . When an actor chooses a specific tactical action , it automatically ...
... tactical action . Can you delineate your process of developing tactical action ? □ The choices we make define who we are . Think how unique to you your tactics are . When an actor chooses a specific tactical action , it automatically ...
Page 237
... Tactical action , 127 , 212-213 Tactical adjustments , objectives and actions as , 127–129 Tactics , in defining character , 128 Tactics as strategies , 127 Taking in definition of , 93–94 personalization , 211–212 vulnerability and ...
... Tactical action , 127 , 212-213 Tactical adjustments , objectives and actions as , 127–129 Tactics , in defining character , 128 Tactics as strategies , 127 Taking in definition of , 93–94 personalization , 211–212 vulnerability and ...
Contents
Getting Ready to Act | 1 |
PARTI PREPARING THE BODY TO | 13 |
RESPIRATION | 24 |
Copyright | |
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Common terms and phrases
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