LEADER 05417oam 2200697I 450 001 9910457512103321 005 20200520144314.0 010 $a1-136-04721-2 010 $a1-136-04722-0 010 $a1-281-00580-0 010 $a9786611005801 010 $a0-08-049050-6 024 7 $a10.4324/9780080490502 035 $a(CKB)1000000000362624 035 $a(EBL)294730 035 $a(OCoLC)476061132 035 $a(SSID)ssj0000105861 035 $a(PQKBManifestationID)11130799 035 $a(PQKBTitleCode)TC0000105861 035 $a(PQKBWorkID)10102420 035 $a(PQKB)10421221 035 $a(MiAaPQ)EBC294730 035 $a(CaSebORM)9780240805078 035 $a(Au-PeEL)EBL294730 035 $a(CaPaEBR)ebr10186373 035 $a(CaONFJC)MIL100580 035 $a(OCoLC)156876025 035 $a(EXLCZ)991000000000362624 100 $a20180706d2002 uy 0 101 0 $aeng 135 $aur|n|---||||| 181 $ctxt 182 $cc 183 $acr 200 14$aThe art of film acting $ea guide for actors and directors /$fJeremiah Comey 205 $a1st edition 210 1$aOxford ;$aBoston :$cFocal Press,$d2002. 215 $a1 online resource (301 p.) 300 $aDescription based upon print version of record. 311 $a1-138-12892-9 311 $a0-240-80507-0 320 $aIncludes bibliographical references (p. 276-277), videography (p. 278-281), and index. 327 $aFront 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 327 $aSummaryActor 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 327 $aHappiness, 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 327 $a7. 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 327 $aActor 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 327 $aTouching to Stimulate Laughter 330 $aThis 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 606 $aMotion picture acting 608 $aElectronic books. 615 0$aMotion picture acting. 676 $a791.43/028 700 $aComey$b Jeremiah.$0887404 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910457512103321 996 $aThe art of film acting$91982473 997 $aUNINA