The Actor at WorkThe Actor at Work presents experiential exercises designed to help students develop a complete understanding of the physical, vocal, analytical, and ethical aspects of acting. For more than thirty years, Robert Benedetti's highly acclaimed The Actor at Work has offered students a thorough focus on the underlying principles of the acting process. |
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Page 5
Robert L. Benedetti. THE SKILLS OF THE ACTOR Although acting is based on everyday life skills , acting for the stage or cam- era demands that these everyday abilities be heightened , purified , and brought within the control of a ...
Robert L. Benedetti. THE SKILLS OF THE ACTOR Although acting is based on everyday life skills , acting for the stage or cam- era demands that these everyday abilities be heightened , purified , and brought within the control of a ...
Page 215
... actor when their work is not well received . But the serious actor strives to balance the healthy desire for immediate success with the equally important long - range demands of artistic development . You should approach each new role ...
... actor when their work is not well received . But the serious actor strives to balance the healthy desire for immediate success with the equally important long - range demands of artistic development . You should approach each new role ...
Page 244
... Actor . New York : Atheneum , 1972 . Chekhov , Michael . To the Actor . New York : Harper & Row , 1953 . Cohen , Robert . Acting Power . Palo Alto , CA : Mayfield , 1978 . Cole , Toby , ed . Acting : A Handbook of the Stanislavski ...
... Actor . New York : Atheneum , 1972 . Chekhov , Michael . To the Actor . New York : Harper & Row , 1953 . Cohen , Robert . Acting Power . Palo Alto , CA : Mayfield , 1978 . Cole , Toby , ed . Acting : A Handbook of the Stanislavski ...
Contents
The Creative State | 9 |
Centering and Moving | 17 |
Gesture | 29 |
Copyright | |
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Common terms and phrases
A. R. Gurney acting actor alignment Amanda Arthur Miller attitude audience audition automatic awareness beat change become begin behavior blocking body breath camera CARLA central conflict character's action choice commitment Constantin Stanislavski create crisis David Mamet develop DIANE director dramatic function Dramatists Play Service dual consciousness Edward Albee everyday example Exercise experience explore express external action feel fellow actors film and television focus gestures Glass Menagerie Howard important impulse inner language Laura Lesson live LUDLOW main event meaning move movement natural Neil Simon partner pattern performance person physical playwright produce psychological qualities rehearsal process relationship Renee Taylor rhythm role Salesman Sam Shepard Samuel French score sense sequence shape situation skills someone sound speak specific stage Stanislavski called stimulus story subtext superobjective Tennessee Williams Theatre Arts Books things thought through-line tion traits voice Willy Loman Willy's words writer York