| |
|
|
|
|
|
|
|
|
1. |
Record Nr. |
UNINA9910458314003321 |
|
|
Autore |
Jones Gai |
|
|
Titolo |
The student actor prepares : acting for life / / Gai Jones ; cover designer, Holly Rose |
|
|
|
|
|
|
|
Pubbl/distr/stampa |
|
|
Bristol, England ; ; Chicago, Illinois : , : Intellect, , 2014 |
|
©2014 |
|
|
|
|
|
|
|
|
|
ISBN |
|
1-78320-260-2 |
1-78320-259-9 |
|
|
|
|
|
|
|
|
Descrizione fisica |
|
1 online resource (470 p.) |
|
|
|
|
|
|
Disciplina |
|
|
|
|
|
|
Soggetti |
|
Acting - Study and teaching |
Electronic books. |
|
|
|
|
|
|
|
|
Lingua di pubblicazione |
|
|
|
|
|
|
Formato |
Materiale a stampa |
|
|
|
|
|
Livello bibliografico |
Monografia |
|
|
|
|
|
Note generali |
|
|
|
|
|
|
Nota di contenuto |
|
Front Cover; Half-title; Title; Copyright; Contents; Preface to Teachers: Using this Book to Instruct Students; Preface to Student Actors: Using this Book; Prologue; Creative (CI) and Reflective Inquiry (RI) Journey; Brief History of Theatre Acting; Theatre Vocabulary for the Acting Student: Top One Hundred and Sixty Essential Words; Theatrical Humor; Reading Plays; Closure for The Student Actor Prepares: Acting for Life: Prologue; Chapter One: Introduction to Theatre Acting; Unlimited Potential; Skills Developed by the Acting Process; Actor's Personal Autobiography |
Natural Talents and Aptitudes Acknowledging your Uniqueness; Positive New Experiences; Dealing with Inhibitors; Dealing with Negativism and Rejection in the Acting Biz; Winning Attitudes; Closure for Chapter One: Theatre Acting; Chapter Two: Creativity; Introduction to Creativity; Definition of Creativity; Say Yes to Creativity; Various Types of Creative Thinking: Brainstorming, Intuition, and Left Brain-Right Brain; Tips on How to Increase your Creativity; Experiences to Increase your Creativity; Left Brain/Right Brain Experience; Thinking Outside the Box |
How an Actor Benefits by Thinking Creatively Using Both Left and Right Brain Thinking in Acting; Closure for Chapter Two: Creativity; Chapter Three: Movement; Introduction to Movement; Definition of Movement; History of Movement Training; Introduction to Relaxation for |
|
|
|
|
|
|
|
|
|
|
|
Movement; The Bow; Video Recording as Part of your Rehearsal Process; Preparation for Actor's Character Stance and Movement; Stage Stances and Movement; Introduction to Mime Study for the Actor; Closure for Chapter Three: Movement; Chapter Four: Vocal Work; Introduction to Vocal Work; Taking Care of your Voice |
Warm-Up for Vocal Experiences Vocal Vocabulary and Assignments; Song Lyrics for Vocal Work; Shakespeare for Vocal Interpretation; Closure for Chapter Four: Vocal Work; Chapter Five: Improvisation; Introduction to Improvisation; Definition of Improvisation; History of Improvisation; Why an Actor Studies Improvisation; Vocabulary Used in the Study of Improvisation; Difference between Giving a Speech and Solo Improvisation Performance; Difference between Ad Lib and Improvisation; How an Actor Uses Improvisation; Basic Principles of Improvisation; Warm-Ups for Improvisations; Solo Improvisation |
Closure for Chapter Five: Improvisation Chapter Six: Acting and Script Study; Introduction to Acting; History of Acting: Mechanical to Method; Master Acting Teachers; Acting Vocabulary; Reading and Analyzing a Script from an Actor's Point of View; Character Biography for a Monologue from a Play; Closure for Chapter Six: Acting and Script Analysis; Chapter Seven: Monologues; Introduction to Monologues; Definition of a Monologue; History of the Monologue; Monologue Vocabulary; Why an Actor Studies Monologues; The First Day: Monologue for Analysis and Staging; Warming Up |
Keeping it Real and in the Moment-Not Indicating |
|
|
|
|
|
|
Sommario/riassunto |
|
The Student Actor Prepares is a practical, interactive approach to a student actor's journey. |
|
|
|
|
|
|
|
| |