The Actor's Checklist: Creating the Complete CharacterClass-tested for more than 15 years and based on the Constantin Stanislavki method of acting, this introductory text examines Stanislavki's eight principles, presented in an easily understood checklist format. In addition to Stanislavski, this exciting acting guide includes insights by other famous acting teachers, such as Uta Hagen, Sanford Meisner, Lee Strasberg, Michael Chekov, and Stella Adler. This books provides techniques for use in both classroom and production situations. |
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Page 2
... beat ? Some say the term beat comes from the Russian pronuncia- tion of bit , because disciples of Stanislavski spent countless hours exploring each bit of a scene . A beat is a slice of a scene with the same ingredients . It is the ...
... beat ? Some say the term beat comes from the Russian pronuncia- tion of bit , because disciples of Stanislavski spent countless hours exploring each bit of a scene . A beat is a slice of a scene with the same ingredients . It is the ...
Page 8
... beat . Actions should be clear , creating something the audience can see . Nam- ing what you're doing helps you distinguish and sustain inter- esting choices . Note how one actor has named the actions in the following beat . BEAT 1 ...
... beat . Actions should be clear , creating something the audience can see . Nam- ing what you're doing helps you distinguish and sustain inter- esting choices . Note how one actor has named the actions in the following beat . BEAT 1 ...
Page 93
... beat ( action and objective ) depends on the analysis of the lines within the beat . The actions of the lines , linked together , determine the action of the beat . 4. What is the transitional line between beats ? One beat does not nec ...
... beat ( action and objective ) depends on the analysis of the lines within the beat . The actions of the lines , linked together , determine the action of the beat . 4. What is the transitional line between beats ? One beat does not nec ...
Contents
Finding Action in Scripts | 8 |
Improvisation | 15 |
OBJECTIVE | 21 |
Copyright | |
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Common terms and phrases
acter activity actor actress adjust Amanda Arthur Miller atmosphere audience background beat begin char character character's action CHECKLIST choices circumstances clothes conflict Constantin Stanislavski create dressed driver emotional Eric Berne Eugene O'Neill example exciting experience feel focus fourth wall Glass Menagerie Imagine improvisation inner images inner monologue Lanford Wilson Laura line-by-line actions living look main action major action major objective major obstacle Miller mother Muriel Neil Simon Note Observe offstage onstage overcome partner pause performance person physical actions physical obstacles physical traits play Progressive Exercise psychological obstacles psychological traits re-create rehearsal relationship Richard role Romeo scene breakdown score script sensations sense memory sequence someone specific stage Stanislavski Stanislavski system Streetcar Named Desire Suddenly Last Summer super objective talk Tennessee Williams Theatre things thoughts tion waiting Wilderness writing