| |
|
|
|
|
|
|
|
|
1. |
Record Nr. |
UNISALENTO991002627079707536 |
|
|
Autore |
Dröscher, Ariane |
|
|
Titolo |
Le facoltà di scienze fisiche, matematiche e naturali in Italia (1860-1915) : repertorio delle cattedre e degli stabilimenti annessi, dei docenti, dei liberi docenti e del personale assistente e tecnico / Ariane Dröscher |
|
|
|
|
|
|
|
Pubbl/distr/stampa |
|
|
|
|
|
|
ISBN |
|
|
|
|
|
|
Descrizione fisica |
|
421 p. ; 27 cm. + 1 disco (CD-ROM) |
|
|
|
|
|
|
Collana |
|
Studi / Centro interuniversitatio per la storia delle università italiane ; 19 |
|
|
|
|
|
|
|
|
Disciplina |
|
|
|
|
|
|
Soggetti |
|
Università - Facoltá scientifiche - Italia - Repertori |
Docenti universitari - Italia - Repertori |
Università - Italia - Storia |
|
|
|
|
|
|
|
|
Lingua di pubblicazione |
|
|
|
|
|
|
Formato |
Materiale a stampa |
|
|
|
|
|
Livello bibliografico |
Monografia |
|
|
|
|
|
Nota di bibliografia |
|
Con bibliografia e indici |
|
|
|
|
|
|
|
|
|
|
|
|
|
2. |
Record Nr. |
UNINA9910784580003321 |
|
|
Autore |
Comey Jeremiah |
|
|
Titolo |
The art of film acting : a guide for actors and directors / / Jeremiah Comey |
|
|
|
|
|
|
|
Pubbl/distr/stampa |
|
|
Oxford ; ; Boston : , : Focal Press, , 2002 |
|
|
|
|
|
|
|
ISBN |
|
1-136-04721-2 |
1-136-04722-0 |
1-281-00580-0 |
9786611005801 |
0-08-049050-6 |
|
|
|
|
|
|
|
|
Edizione |
[1st edition] |
|
|
|
|
|
Descrizione fisica |
|
1 online resource (301 p.) |
|
|
|
|
|
|
Disciplina |
|
|
|
|
|
|
Soggetti |
|
|
|
|
|
|
Lingua di pubblicazione |
|
|
|
|
|
|
Formato |
Materiale a stampa |
|
|
|
|
|
Livello bibliografico |
Monografia |
|
|
|
|
|
Note generali |
|
Description based upon print version of record. |
|
|
|
|
|
|
Nota di bibliografia |
|
Includes bibliographical references (p. 276-277), videography (p. 278-281), and index. |
|
|
|
|
|
|
|
|
Nota di contenuto |
|
Front Cover; The Art of Film Acting: A Guide for Actors and Directors; Copyright Page; Contents; Preface; Acknowledgments; 1. The Exercise; Transcript of two actors doing a scene in class. Jeremiah interacts with them and guides them through the scene using the Five Arts; Summary; Actor Practice; 2. Stage versus Film Acting; Preparing for a Role; The Demands of Performance; One Good Performance; Projecting; Film and Theater Close-Ups; Emotions and Feelings; Subtext; Camera and Proscenium Arch; Personality and Character; Dialogue; Monologues; Film Experience versus Stage Experience; Reacting |
SummaryActor Practice; 3. Becoming a Great Actor; The Actor's Responsibility; Casablanca; Acting Is Being and Awareness; The Five Arts of Film Acting; The Power of Relating; Acting ""On the Nose""; Listen to the Other Actor; Acting Is a Profession; Summary; Actor Practice; 4. Sight Reading; How Sight Reading Works; How to Sight Read; Importance of Sight Reading; Second-Guessing the Director; Multiple Auditions; Helpful Hints; Summary; Actor Practice; 5. The Art of Concentration; Concentration; Internal Rap; Interest Is the Focal Point of Concentration; Feedback; Emotions |
|
|
|
|
|
|
|
|
|
|
|
Happiness, Sadness, Anger, Fear, LoveDifferentiating between the Emotions; Laughter and Sadness; Focused Concentration; How to Increase Your Concentration; Summary; Actor Practice; 6. The Art of Not Knowing; Everything Happens As If for the First Time; Being Intimate without Taking It Personally; Beginner's Mind and Logical Mind; After the Scene, Forget It; Opinions and Beliefs Will Destroy You; Play the Character, Not the Stereotype; Judgment Is a Trap; Leave Your Feelings on the Set; Self-Criticism; Use Your Beginner's Mind to Not Know; Summary; Actor Practice |
7. More on the Art of Not KnowingThe First Time; Bad Acting on Film Is the Triumph of Logic; Don't Be Safe; The Power of Not Knowing; Memorizing and Not Knowing; Repeating an Emotional Experience; Discover Facts by Concentrating on the Other Actor; Judgments Ruin Your Acting; A Genuine Experience; Summary; Actor Practice; 8. Still More on the Art of Not Knowing; The Director's Ideas; Ideas and the Actors; The Director's Vision; Good Actors Make Things Happen; Directors Use Blocking to Elicit Responses; A Director's Scene Preparation; Importance of the Art of Not Knowing; Summary |
Actor Practice9. The Art of Acceptance; Acceptance; Play the Game; Trust the Roller Coaster; Having Fun; Sets and Locations Are Real; Summary; Actor Practice; 10. The Art of Giving and Receiving; Giving and Receiving; Giving, Receiving, and Subtext; Accepting Responsibility; The Relating Exercise; Different Emotional Levels; There Are No Officially Sanctioned Responses; Summary; Actor Practice; 11. The Senses; See through Untainted Eyes; The Abilities; The Maestro's Ears; The Sense of Touch; Touching to Relax; Touching to Stimulate Love; Touching to Provoke Anger |
Touching to Stimulate Laughter |
|
|
|
|
|
|
Sommario/riassunto |
|
This guide for actors and directors develops a valid method for training performers to act from their core--whether they are cold reading, auditioning, or performing for film or television. This book teaches actors how to achieve and respond to believable and honest emotions before the camera, and it maintains that the key to a successful performance lies in how the actors relate to one another and to the circumstances. Exercises, including script examples, throughout the book give readers an easy resource for practicing the principles outlined.The Art of Film Ac |
|
|
|
|
|
|
|
| |