Info
- Utilizzare la checkbox di selezione a fianco di ciascun documento per attivare le funzionalità di stampa, invio email, download nei formati disponibili del (i) record.
Acting in the cinema [[electronic resource] /] / James Naremore
| Acting in the cinema [[electronic resource] /] / James Naremore |
| Autore | Naremore James |
| Pubbl/distr/stampa | Berkeley, : University of California Press, c1988 |
| Descrizione fisica | 1 online resource (318 p.) |
| Disciplina | 791.43/028 |
| Soggetto topico |
Motion picture acting
Motion pictures - United States |
| Soggetto genere / forma | Electronic books. |
| ISBN |
0-520-91066-4
1-282-75863-2 9786612758638 |
| Formato | Materiale a stampa  |
| Livello bibliografico | Monografia |
| Lingua di pubblicazione | eng |
| Nota di contenuto | pt. 1. Performance in the age of mechanical reproduction -- pt. 2. Star performances -- pt. 3. Film as a performance text. |
| Record Nr. | UNINA-9910457269503321 |
Naremore James
|
||
| Berkeley, : University of California Press, c1988 | ||
| Materiale a stampa | ||
| Lo trovi qui: Univ. Federico II | ||
| ||
Acting in the cinema / / James Naremore
| Acting in the cinema / / James Naremore |
| Autore | Naremore James |
| Edizione | [First paperback edition.] |
| Pubbl/distr/stampa | Berkeley : , : University of California Press, , 1988 |
| Descrizione fisica | 1 online resource (318 pages) |
| Disciplina | 791.43/028 |
| Soggetto topico |
Motion picture acting
Motion pictures - United States |
| ISBN |
0-520-91066-4
1-282-75863-2 9786612758638 |
| Formato | Materiale a stampa |
| Livello bibliografico | Monografia |
| Lingua di pubblicazione | eng |
| Nota di contenuto | pt. 1. Performance in the age of mechanical reproduction -- pt. 2. Star performances -- pt. 3. Film as a performance text. |
| Record Nr. | UNINA-9910778947103321 |
|
Naremore James
|
||
| Berkeley : , : University of California Press, , 1988 | ||
| Materiale a stampa | ||
| Lo trovi qui: Univ. Federico II | ||
| ||
Acting in the cinema / / James Naremore
| Acting in the cinema / / James Naremore |
| Autore | Naremore James |
| Edizione | [First paperback edition.] |
| Pubbl/distr/stampa | Berkeley : , : University of California Press, , 1988 |
| Descrizione fisica | 1 online resource (318 pages) |
| Disciplina | 791.43/028 |
| Soggetto topico |
Motion picture acting
Motion pictures - United States |
| ISBN |
0-520-91066-4
1-282-75863-2 9786612758638 |
| Formato | Materiale a stampa |
| Livello bibliografico | Monografia |
| Lingua di pubblicazione | eng |
| Nota di contenuto | pt. 1. Performance in the age of mechanical reproduction -- pt. 2. Star performances -- pt. 3. Film as a performance text. |
| Record Nr. | UNINA-9910824146703321 |
|
Naremore James
|
||
| Berkeley : , : University of California Press, , 1988 | ||
| Materiale a stampa | ||
| Lo trovi qui: Univ. Federico II | ||
| ||
The art of film acting : a guide for actors and directors / / Jeremiah Comey
| The art of film acting : a guide for actors and directors / / Jeremiah Comey |
| Autore | Comey Jeremiah |
| Edizione | [1st edition] |
| Pubbl/distr/stampa | Oxford ; ; Boston : , : Focal Press, , 2002 |
| Descrizione fisica | 1 online resource (301 p.) |
| Disciplina | 791.43/028 |
| Soggetto topico | Motion picture acting |
| Soggetto genere / forma | Electronic books. |
| ISBN |
1-136-04721-2
1-136-04722-0 1-281-00580-0 9786611005801 0-08-049050-6 |
| Formato | Materiale a stampa |
| Livello bibliografico | Monografia |
| Lingua di pubblicazione | eng |
| 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 |
| Record Nr. | UNINA-9910457512103321 |
|
Comey Jeremiah
|
||
| Oxford ; ; Boston : , : Focal Press, , 2002 | ||
| Materiale a stampa | ||
| Lo trovi qui: Univ. Federico II | ||
| ||
The art of film acting : a guide for actors and directors / / Jeremiah Comey
| The art of film acting : a guide for actors and directors / / Jeremiah Comey |
| Autore | Comey Jeremiah |
| Edizione | [1st edition] |
| Pubbl/distr/stampa | Oxford ; ; Boston : , : Focal Press, , 2002 |
| Descrizione fisica | 1 online resource (301 p.) |
| Disciplina | 791.43/028 |
| Soggetto topico | Motion picture acting |
| ISBN |
1-136-04721-2
1-136-04722-0 1-281-00580-0 9786611005801 0-08-049050-6 |
| Formato | Materiale a stampa |
| Livello bibliografico | Monografia |
| Lingua di pubblicazione | eng |
| 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 |
| Record Nr. | UNINA-9910784580003321 |
|
Comey Jeremiah
|
||
| Oxford ; ; Boston : , : Focal Press, , 2002 | ||
| Materiale a stampa | ||
| Lo trovi qui: Univ. Federico II | ||
| ||
The art of film acting : a guide for actors and directors / / Jeremiah Comey
| The art of film acting : a guide for actors and directors / / Jeremiah Comey |
| Autore | Comey Jeremiah |
| Edizione | [1st edition] |
| Pubbl/distr/stampa | Oxford ; ; Boston : , : Focal Press, , 2002 |
| Descrizione fisica | 1 online resource (301 p.) |
| Disciplina |
791.43/028
791.43028 |
| Soggetto topico | Motion picture acting |
| ISBN |
1-136-04721-2
1-136-04722-0 1-281-00580-0 9786611005801 0-08-049050-6 |
| Formato | Materiale a stampa |
| Livello bibliografico | Monografia |
| Lingua di pubblicazione | eng |
| 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 |
| Record Nr. | UNINA-9910827623303321 |
|
Comey Jeremiah
|
||
| Oxford ; ; Boston : , : Focal Press, , 2002 | ||
| Materiale a stampa | ||
| Lo trovi qui: Univ. Federico II | ||
| ||