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Acting in Musical Theatre: A Comprehensive Course 2nd New edition [Kietas viršelis]

4.24/5 (46 ratings by Goodreads)
, (University of Cincinnati, Ohio, USA), (Wright State University, Ohio, USA)
  • Formatas: Hardback, 396 pages, aukštis x plotis: 246x174 mm, weight: 1157 g, 18 Tables, black and white
  • Išleidimo metai: 21-Sep-2015
  • Leidėjas: Routledge
  • ISBN-10: 0415713269
  • ISBN-13: 9780415713269
Kitos knygos pagal šią temą:
Acting in Musical Theatre: A Comprehensive Course 2nd New editionDidesnis paveikslėlis
  • Formatas: Hardback, 396 pages, aukštis x plotis: 246x174 mm, weight: 1157 g, 18 Tables, black and white
  • Išleidimo metai: 21-Sep-2015
  • Leidėjas: Routledge
  • ISBN-10: 0415713269
  • ISBN-13: 9780415713269
Kitos knygos pagal šią temą:
Pastovi nuoroda: https://www.kriso.lt/db/9780415713269.html
Raktažodžiai:
Acting in Musical Theatre remains the only complete course in approaching a role in a musical. It covers fundamental skills for novice actors, practical insights for professionals, and even tips to help veteran musical performers refine their craft.









Updates in this expanded and revised second edition include:





















A brand new companion website for students and teachers, including Powerpoint lecture slides, sample syllabi, and checklists for projects and exercises.













Learning outcomes for each chapter to guide teachers and students through the books core ideas and lessons













New style overviews for pop and jukebox musicals













Extensive updated professional insights from field testing with students, young professionals, and industry showcases













Full-colour production images, bringing each chapter to life









Acting in Musical Theatres chapters divide into easy-to-reference units, each containing group and solo exercises, making it the definitive textbook for students and practitioners alike.

Recenzijos

"An essential guide to musical theatre acting. [ ...] This book should be a staple on the shelf of every musical theatre professor, instructor, and student as it is an invaluable resource."



- Matthew Teague Miller, Musical Theatre Educators' Alliance

List of figures
xxi
Foreword to Second Edition xxiii
Victoria Clark
Foreword to First Edition xxvii
Lynn Ahrens
Special thanks and acknowledgments xxx
Introduction 1(4)
Training for the musical theatre
1(1)
Acting in Musical Theatre -- the book
2(1)
How to use this book
3(1)
Using online content
4(1)
SECTION I Fundamentals of acting in musical theatre
5(40)
1 Acting basics -- the foundation
7(10)
Unit 1.1 What makes good acting?
8(1)
Unit 1.2 Preparing to work
9(1)
Unit 1.3 Giving and taking feedback
9(3)
1.3.1 Taking feedback
9(1)
1.3.2 Giving feedback
10(1)
1.3.3 Asking for feedback
11(1)
Exercise 1A Creating a workbook
11(1)
1.3.4 Safe space
11(1)
Working safe and working smart
12(1)
Unit 1.4 Being an actor
13(4)
1.4.1 The Magic "IF"
13(1)
1.4.2 Believability and truth
13(1)
1.4.3 First time
14(1)
1.4.4 Public solitude and relishing exposure
14(1)
1.4.5 Acting is believing -- the difference between acting and performing
14(1)
1.4.6 Playful work, disciplined play
15(1)
1.4.7 Theatricality
15(1)
1.4.8 Inside out/outside in
15(2)
2 Acting basics -- step by step
17(22)
Unit 2.1 Acting fundamentals
18(1)
Unit 2.2 Given circumstances
19(2)
2.2.1 Facts of the world of your script
19(1)
Exercise 2A Bringing in your research
20(1)
2.2.2 Inferring given circumstances
20(1)
2.2.3 Worldview
20(1)
Exercise 2B What is my worldview?
21(1)
Unit 2.3 Relationships
21(5)
Exercise 2C List the relationships
21(1)
2.3.1 My world and welcome to it
22(1)
Exercise 2D Everything is mine
22(1)
2.3.2 Endowment
22(1)
Exercise 2E Endowing
22(1)
Exercise 2F The liars' club
23(1)
2.3.3 Metaphoric relationships
23(1)
Exercise 2G Playing the relationships
24(1)
2.3.4 Relationships change
24(1)
Exercise 2H Metaphoric relationships
24(1)
2.3.5 Who am I, anyway?
25(1)
Unit 2.4 Objectives
26(4)
2.4.1 Why versus what for
26(1)
Exercise 2I Why versus what for
26(1)
2.4.2 Superobjective
27(1)
Exercise 2J Objective hierarchy
28(1)
2.4.3 Testing the objective
29(1)
2.4.4 Specific ideal outcome
29(1)
Exercise 2K Specific ideal outcome
30(1)
Unit 2.5 Beats
30(2)
2.5.1 Identifying beats
30(1)
Exercise 2L Finding the beat
31(1)
2.5.2 Fight only for what you want right now
31(1)
Unit 2.6 Obstacles
32(3)
2.6.1 External and internal obstacles
32(1)
Exercise 2M Identifying obstacles
33(1)
2.6.2 Physicalizing the struggle
33(1)
Exercise 2N Obstacles: what's in your way?
33(1)
2.6.3 Emotions are obstacles (but in a good way)
33(1)
Exercise 2O Push-me-pull-you
34(1)
Unit 2.7 Strategy and tactics
35(1)
Exercise 2P Applying the concepts
36(1)
Unit 2.8 Evaluation, discovery and adjustment
36(1)
2.8.1 The creative mood and preparation
37(1)
Unit 2.9 Text, subtext and inner monologue
37(2)
Exercise 2Q Subtext and inner monologue
38(1)
3 Making it matter
39(6)
Exercise 3A Tell the truth, now live it large
41(1)
Unit 3.1 Raising the stakes
41(1)
Unit 3.2 Meeting the emotional demands of the music
42(1)
Exercise 3B Or else I'll die
42(1)
Unit 3.3 Citizenship in the Land of IF -- the creative state
42(3)
SECTION II Score and libretto analysis and structure
45(88)
4 Musical analysis -- listening for clues
47(19)
Unit 4.1 Introduction
48(1)
4.1.1 Learn to listen
49(1)
4.1.2 The music never lies
49(1)
Unit 4.2 Kinds of musical information
49(9)
Exercise 4A Ways of listening
50(1)
Exercise 4B Easy listening
51(1)
4.2.1 Composer's markings
51(1)
4.2.2 Emotional qualities
52(1)
Exercise 4C Emotional qualities
53(1)
4.2.3 Melodic shape
53(1)
Exercise 4D Melodic shape
53(1)
4.2.4 Tempo quality and changes
53(1)
Exercise 4E Tempo changes
54(1)
4.2.5 Rhythmic quality
54(1)
Exercise 4F Rhythmic styles
54(1)
4.2.6 Musical key
55(1)
4.2.7 Modulations
55(1)
Exercise 4G Changing keys
55(1)
4.2.8 Tension and release
55(1)
4.2.9 Musical accents
56(1)
Exercise 4H Using accents
56(1)
4.2.10 Musical dynamics
56(1)
Exercise 4I Dynamic changes
57(1)
4.2.11 Musical idiom
57(1)
4.2.12 Musical character quality
57(1)
4.2.13 The relationship between melody and accompaniment
57(1)
4.2.14 The relationship between dialogue and underscoring
58(1)
Exercise 4J Reunited ... and it sounds so good
58(1)
Unit 4.3 Architecture of the traditional theatre song
58(2)
4.3.1 Introduction or "intro"
58(1)
4.3.2 Verse
59(1)
4.3.3 Chorus or refrain
59(1)
4.3.4 Playoff or ride-out
60(1)
Exercise 4K Naming of parts
60(1)
Unit 4.4 A closer look at the chorus
60(1)
Exercise 4L Learn your ABCs
61(1)
Unit 4.5 Contemporary variations
61(1)
Exercise 4M Identifying song structure
62(1)
Unit 4.6 The musical "voice" of a song and of a character
62(3)
4.6.1 Musical voice reveals character function
63(1)
4.6.2 Musical style reveals character status
63(1)
4.6.3 Voice type can reveal a character's nature
64(1)
Unit 4.7 A final thought on musical analysis
65(1)
5 Working with words -- the language of the lyric and libretto
66(19)
Unit 5.1 Acting through language
68(1)
Unit 5.2 Lyrics as poetry
68(2)
Exercise 5A Playing the poetry
70(1)
Unit 5.3 Poetry versus prose
70(1)
Exercise 5B Playing the prose
70(1)
Unit 5.4 Lyric rhythm
71(2)
Exercise 5C Poem rhythm versus prose rhythm
73(1)
Unit 5.5 Rhyme
73(2)
Exercise 5D Rhyme scheme
75(1)
Unit 5.6 Alliteration and consonance
75(2)
Exercise 5E Catching the consonants/voicing the vowels
76(1)
Unit 5.7 Rhetoric
77(4)
Exercise 5F Simple sentences
79(1)
Exercise 5G Simple to complex sentences
80(1)
Unit 5.8 Simile and metaphor -- telling you how I feel
81(1)
Exercise 5H I'm a metaphor (or like a simile)
82(1)
Unit 5.9 Changing lists into ladders
82(1)
Unit 5.10 If--then, either--or, yes--but, not this--but that
82(1)
Unit 5.11 Punctuation
83(1)
Unit 5.12 Period
84(1)
6 Elements of storytelling
85(25)
Unit 6.1 Know what story you're telling
86(1)
Unit 6.2 Divide and conquer your text
87(2)
6.2.1 Story events
87(1)
6.2.2 French scenes
87(1)
6.2.3 Musical moments
88(1)
Exercise 6A Divide and conquer
89(1)
Unit 6.3 Plot
89(6)
Exercise 6B Plot outline
90(1)
Exercise 6C Fairytale-ing your story
91(1)
6.3.1 Events seen (and unseen)
91(1)
6.3.2 Your character's events
91(2)
Exercise 6D My story
93(1)
6.3.3 Backstory
93(1)
Exercise 6E Backstory
94(1)
6.3.4 What happens?
94(1)
Exercise 6F Who does what to whom?
94(1)
6.3.5 What happens ... to me?
94(1)
Exercise 6G My story, part 2
95(1)
Unit 6.4 Conflict
95(3)
6.4.1 Thematic conflict
95(1)
Exercise 6H Finding the thematic conflict
96(1)
6.4.2 Personal conflicts
97(1)
6.4.3 Conflict in musical comedies
97(1)
Unit 6.5 Characters carry the argument
98(1)
6.5.1 Characters embody values
98(1)
6.5.2 This I believe
99(1)
Unit 6.6 Dramatic function
99(3)
6.6.1 Why is it there?
99(1)
6.6.2 Dramatic function of reprises
100(2)
Exercise 6I Musical moments
102(1)
Unit 6.7 Kinds of text
102(1)
6.7.1 Spoken and sung text
102(1)
6.7.2 Musical dialect
103(1)
6.7.3 Physical texts
103(1)
Unit 6.8 Location, location, location
103(1)
Unit 6.9 Time
104(1)
Unit 6.10 Visual elements -- how design affects your performance
105(1)
Unit 6.11 A review
106(2)
Unit 6.12 How to use this information
108(2)
7 Character analysis
110(23)
Introduction
111(1)
Unit 7.1 Exposition
112(1)
7.1.1 Characters tell us about themselves
112(1)
7.1.2 Characters tell us about each other
112(1)
7.1.3 Authors tell us about characters
113(1)
7.1.4 The characters' actions tell us about them
113(1)
Unit 7.2 Character facts
113(4)
Exercise 7A Grab bag character -- part I
117(1)
Unit 7.3 Attitudes
117(2)
Exercise 7B Grab bag character -- part II
119(1)
Unit 7.4 Ambitions
119(2)
Exercise 7C Grab bag character -- part III
121(1)
Exercise 7D Grab bag character -- part IV
121(1)
Exercise 7E Dating service
121(1)
Exercise 7F Eulogies
121(1)
Unit 7.5 Archetypes, stock characters and character types
121(7)
7.5.1 Archetypal roots
121(1)
7.5.2 Ancient Greek drama
121(2)
7.5.3 Commedia dell'arte characters
123(1)
7.5.4 Nineteenth- and early twentieth-century comedy, melodrama and minstrelsy
124(3)
7.5.5 Creating characters using archetypes
127(1)
Exercise 7G Identifying archetypes
128(1)
Exercise 7H Archetype matching
128(1)
Exercise 7I Name that archetype!
128(1)
Unit 7.6 The world of the musical
128(1)
Unit 7.7 Bringing all the character research together
129(1)
Exercise 7J Alike/different
130(1)
Exercise 7K Visual journal
130(1)
Exercise 7L Cartoon your character
130(1)
Unit 7.8 Selective reality of your show
130(1)
Finally
131(2)
SECTION III The journey of the song
133(48)
8 The journey begins
135(21)
Unit 8.1 Four journeys
136(1)
Exercise 8A Mapping the trip
137(1)
Unit 8.2 A journey to where? Trip objectives
137(2)
Unit 8.3 Pursue objectives -- don't play moods or states of being
139(1)
Exercise 8B Moods into objectives
139(1)
Unit 8.4 Beat breakdowns
139(3)
Exercise 8C Breaking it into beats
142(1)
Unit 8.5 Beat objectives
142(4)
Exercise 8D Choosing objectives
145(1)
Exercise 8E Rehearsing with objectives
145(1)
Unit 8.6 Taking the journey in small steps
146(10)
8.6.1 Internal and external pressure
146(1)
Exercise 8F Under pressure
147(1)
8.6.2 Tactical actions -- verbs to do by
147(2)
8.6.3 Verbs can hurt or heal
149(1)
Exercise 8G Intimidating or attracting with tactics
150(1)
8.6.4 Discovery
151(2)
Exercise 8H Planting and unearthing discoveries
153(1)
Exercise 8I What just happened?
153(1)
8.6.5 Evaluation and adjustment
154(1)
Exercise 8J Reacting and responding
154(2)
9 Working with relationships
156(13)
Unit 9.1 Specific relationship
157(2)
Exercise 9A Specifying relationship
159(1)
Exercise 9B When I look at you
159(1)
Unit 9.2 Changing relationships
159(1)
Exercise 9C I am changing
160(1)
Unit 9.3 Relationships as obstacles
160(2)
Exercise 9D You are in my way (and I'm in yours)
161(1)
Unit 9.4 Relationship goal -- I want more
162(1)
Exercise 9E Upgrading relationships
162(1)
Unit 9.5 Relationship goal -- love me as I want to be loved
163(1)
Exercise 9F How I want to be loved
164(1)
Unit 9.6 Power, control and status
164(2)
Exercise 9G Playing to win
166(1)
Unit 9.7 Alone onstage
166(3)
9.7.1 Inner-directed songs
166(1)
9.7.2 Absent partner-directed songs
167(1)
9.7.3 Conversations with God
167(1)
9.7.4 Audience-directed songs
167(1)
Exercise 9H You, me and God
168(1)
10 Intensifiers
169(12)
Unit 10.1 This is the moment
170(2)
Exercise 10A Now as never before
171(1)
Unit 10.2 Why must I sing this now?
172(1)
Exercise 10B Pressure to perform
172(1)
Unit 10.3 Backstory and frontloading
172(4)
Exercise 10C Using backstory and frontloading
175(1)
Exercise 10D Three through the door
175(1)
Unit 10.4 Invented memory
176(2)
Exercise 10E Creating a fantasy memory
177(1)
Exercise 10F Creative fantasy
178(1)
Unit 10.5 The cost of failure -- what's at stake?
178(1)
Exercise 10G Finding the stakes and raising them
179(1)
Journey's end
179(2)
SECTION IV Making it a performance
181(46)
11 Discovering your phrasing
183(13)
Unit 11.1 Lyrics are dialogue
185(1)
Exercise 11A Listening for emphasis
186(1)
Unit 11.2 Monologuing the lyric
186(4)
Exercise 11B Reading the lyric
187(1)
Exercise 11C Meaning the lyric
187(1)
Exercise 11D Lyric as monologue
188(1)
Exercise 11E Speak -- sing -- speak
189(1)
Exercise 11F Emphatic words
190(1)
Unit 11.3 Returning to music
190(1)
Exercise 11G Returning to the music
190(1)
Unit 11.4 Singing ideas instead of notes and words
190(1)
Exercise 11H Singing your objective
191(1)
Unit 11.5 Phrasing with breath
191(1)
11.5.1 Using breathing to phrase ideas
191(1)
Unit 11.6 Front phrasing and back phrasing
192(2)
Exercise 11I Back phrasing
193(1)
Exercise 11J Front phrasing
193(1)
Exercise 11K Research phrasing styles
193(1)
Exercise 11L Impersonating phrasing
194(1)
Unit 11.7 It's a musical, not a play-zical!
194(2)
Exercise 11M Vowels only
194(1)
Exercise 11N I'm an instrument
194(1)
Exercise 11O Scat singing
195(1)
Exercise 11P Remastering
195(1)
12 Staging your song
196(24)
Unit 12.1 A common language for working on the stage
198(1)
Exercise 12A Onstage twister
198(1)
Unit 12.2 Body positions
199(1)
Unit 12.3 Stage positions and visual impact
199(1)
Exercise 12B Living tableau
200(1)
Unit 12.4 Staging terms
200(1)
Unit 12.5 Staging yourself
200(1)
Unit 12.6 An external expression of the inner journey
201(1)
Unit 12.7 Impulse leads to action
201(1)
Unit 12.8 Inhabiting gesture
202(1)
Unit 12.9 Illustration versus gesture
202(1)
Unit 12.10 Anchoring
203(6)
12.10.1 Anchoring things -- a 3-D map of your outer world
203(1)
Exercise 12C Giving directions
204(2)
Exercise 12D Picture it this way
206(1)
12.10.2 Anchoring ideas -- a 3-D map of your inner world
207(1)
Exercise 12E Find and anchor the argument, physically
208(1)
Unit 12.11 Playing multiple roles in the same song
209(1)
Unit 12.12 When to move
210(2)
Exercise 12F Action figure statues
212(1)
Unit 12.13 Relating actions to anchors
212(1)
Exercise 12G Action figures: the sequel
213(1)
Unit 12.14 Scoring your staging
213(1)
Unit 12.15 Dance movement
213(4)
Unit 12.16 Sharing your performance with the audience
217(1)
Unit 12.17 Scale
217(1)
Exercise 12H Calibrating the space
217(1)
Unit 12.18 What is a "button"?
217(3)
13 Rehearsal into performance
220(7)
Unit 13.1 Begin at the beginning
221(1)
Unit 13.2 Layering
221(1)
Unit 13.3 Setting goals
222(1)
Unit 13.4 Exploring and experimenting
222(1)
Unit 13.5 Room for failure
223(1)
Unit 13.6 Changing venues
223(1)
Unit 13.7 Adding elements
223(1)
Unit 13.8 Previews and opening night
224(1)
Unit 13.9 Advice
224(1)
Unit 13.10 Hits and flops
224(1)
Unit 13.11 Your evolving technique
225(2)
Exercise 13A Rehearsal journal
226(1)
SECTION V Style in musical theatre
227(76)
14 What is style?
229(13)
Unit 14.1 Evolving notions of style
230(1)
Unit 14.2 Audience awareness of style
231(1)
Unit 14.3 Contemporary Musical Acting Style
232(1)
14.3.1 The human truth of style
233(1)
Unit 14.4 Fundamental assumptions about style
233(1)
Unit 14.5 Theatrical conventions
234(1)
Unit 14.6 Conventional behavior
235(1)
Unit 14.7 Analyzing the worldview of a style
236(6)
14.7.1 Value systems
236(1)
14.7.2 Romance and sex
236(1)
14.7.3 Relationship to authority
237(1)
14.7.4 Social ideal
237(1)
14.7.5 Identifying the social ideal
238(1)
14.7.6 Beauty and fashion
239(1)
14.7.7 Performance tradition and style
239(2)
14.7.8 Self-conscious use of performance traditions
241(1)
14.7.9 Historical accuracy and modern perceptions of style
241(1)
15 Style tags
242(10)
Exercise 15A Pop music style-go-round
243(1)
Unit 15.1 What are style tags?
243(1)
Exercise 15B Name the tags
244(1)
Unit 15.2 Vocal style tags
244(4)
15.2.1 Diction
244(1)
15.2.2 Tonality
245(1)
Exercise 15C Painting with vocal colors
246(1)
15.2.3 Vibrato versus straight
246(1)
Exercise 15D Rate of vibrato
246(1)
Exercise 15E Vibrato onset
246(1)
Exercise 15F Combining vibrato skills
247(1)
15.2.4 Phrasing
247(1)
15.2.5 Researching vocal styles
247(1)
Exercise 15G Break down
248(1)
Unit 15.3 Physical style tags
248(2)
15.3.1 Posture and silhouette
248(1)
15.3.2 Formality of movement
248(1)
15.3.3 Fashion and movement
249(1)
15.3.4 Gestural vocabulary
249(1)
Unit 15.4 Attitudes into actions
250(1)
Unit 15.5 Style and truth
251(1)
16 Style overviews
252(51)
Unit 16.1 European operetta
254(5)
16.1.1 Background and worldview
255(1)
16.1.2 Social ideal and values
256(1)
16.1.3 Romance and sex
256(1)
16.1.4 Beauty and fashion
256(1)
16.1.5 Relationship to authority
256(1)
16.1.6 Performance tradition
256(1)
16.1.7 Style tags
256(2)
16.1.8 Examples from the style/genre
258(1)
16.1.9 Research resources
258(1)
Unit 16.2 Gilbert and Sullivan operetta
259(7)
16.2.1 Background and worldview
259(1)
16.2.2 Social ideal and values
260(1)
16.2.3 Romance and sex
261(1)
16.2.4 Beauty and fashion
261(1)
16.2.5 Relationship to authority
262(1)
16.2.6 Performance tradition
262(1)
16.2.7 Style tags
263(1)
16.2.8 Examples from the style/genre
264(1)
16.2.9 Research resources
265(1)
Unit 16.3 Musical comedy
266(8)
16.3.1 Background and worldview
266(1)
16.3.2 Social ideal and values
267(1)
16.3.3 Romance and sex
267(1)
16.3.4 Beauty and fashion
268(1)
16.3.5 Relationship to authority
268(1)
16.3.6 Performance tradition
269(1)
16.3.7 Style tags
270(2)
16.3.8 Research resources
272(2)
Unit 16.4 Golden Age musical drama
274(9)
16.4.1 Background and worldview
274(1)
16.4.2 Social ideal and values
275(1)
16.4.3 Romance and sex
276(1)
16.4.4 Beauty and fashion
277(1)
16.4.5 Relationship to authority
277(1)
16.4.6 Performance tradition
278(1)
16.4.7 Style tags
278(3)
16.4.8 Examples from the style/genre
281(1)
16.4.9 Research resources
282(1)
Unit 16.5 Rock musicals
283(8)
16.5.1 Background and worldview
283(1)
16.5.2 Social ideal and values
284(1)
16.5.3 Romance and sex
285(1)
16.5.4 Beauty and fashion
285(1)
16.5.5 Relationship to authority
286(1)
16.5.6 Performance tradition
286(1)
16.5.7 Style tags
287(2)
16.5.8 Examples from the style/genre
289(1)
16.5.9 Research resources
290(1)
Unit 16.6 Popsicals and Juke Box Musicals
291(12)
16.6.1 Background
291(1)
16.6.2 Juke Box variations
292(1)
16.6.3 Biographical Juke Box Musicals
293(1)
16.6.4 Using style tags in Juke Box musicals
293(1)
16.6.5 Selecting and amplifying signature elements
294(1)
16.6.6 Digging deeper
295(1)
16.6.7 Acting in Juke Box Book Musicals and popsicals
295(1)
16.6.8 Case study: Mamma, Mia!
296(2)
Exercise 16A In the manner of ...
298(1)
Exercise 16B Have you heard the one about ...
298(1)
Exercise 16C I am the very model
299(1)
Exercise 16D Sing with a prop
299(1)
Exercise 16E Look at my ...
299(1)
Exercise 16F Performance tradition
299(1)
Exercise 16G I've got a Little problem
299(1)
Exercise 16H Celebrity roast
300(1)
Exercise 16I Yo, baby! I love ya!
300(1)
Exercise 16J Anything you can do, I can do better
300(1)
Exercise 16K Archetypes in the style of ...
300(1)
Exercise 16L I'm the greatest star
300(1)
Exercise 16M Style day
300(3)
SECTION VI The profession
303(72)
17 Do you have the stuff?
305(45)
Unit 17.1 Talent
307(1)
Exercise 17A How do you measure up?
307(1)
Unit 17.2 Charisma
308(1)
Unit 17.3 Castability and type
308(8)
Exercise 17B Your basic profile
310(1)
Exercise 17C Know your musical theatre type
310(1)
Exercise 17D You remind me of ...
311(1)
Exercise 17E The sociology experiment
312(1)
Exercise 17F Typing and archetyping
313(2)
Exercise 17G Bringing it into focus
315(1)
Unit 17.4 Skills and know-how
316(2)
Exercise 17H Skills inventory
316(2)
Exercise 17I Can you act?
318(1)
Unit 17.5 Connections and an understanding of the market
318(2)
17.5.1 Planning and setting goals
318(1)
Exercise 17J Creating a business plan
319(1)
Unit 17.6 Market research
320(1)
Unit 17.7 Where the work is
321(7)
17.7.1 Children's theatre
322(1)
17.7.2 Outdoor drama
322(1)
17.7.3 Theme parks
323(1)
17.7.4 Arena shows
323(1)
17.7.5 Cruise ships
323(1)
17.7.6 Summer stock
324(1)
17.7.7 Dinner theatre
324(1)
17.7.8 Industrial shows
324(1)
17.7.9 Regional theatre
325(1)
17.7.10 Non-union tours
325(1)
17.7.11 Off-Broadway
326(1)
17.7.12 Equity national tours
326(1)
17.7.13 Broadway
326(1)
17.7.14 Showcases
326(1)
17.7.15 Workshops
327(1)
17.7.16 Cabarets
327(1)
Unit 17.8 Finding the auditions
328(1)
Unit 17.9 Assessing the job
328(2)
Unit 17.10 More than musicals
330(1)
Unit 17.11 Unions
330(1)
Unit 17.12 Agents and personal managers
331(1)
Unit 17.13 Personal networking and contacts
332(8)
Exercise 17K Managing your contacts
333(1)
Exercise 17L Refining your network
333(1)
Exercise 17M Developing your contact database
334(1)
Exercise 17N Activating your professional network
334(2)
Exercise 17O Making specific requests
336(1)
Unit 17.13.1 Other kinds of business communication
337(1)
Exercise 17P Thank you/acknowledgement cards
338(1)
Unit 17.13.2 The business letter
339(1)
Exercise 17Q The business letter
340(1)
Unit 17.14 Advertising tools -- your resume, headshot, demo, website
340(1)
Unit 17.15 Theatrical resumes
340(4)
17.15.1 Functions
341(1)
17.15.2 Formatting
341(2)
17.15.3 Style
343(1)
17.15.4 Keep it current
344(1)
Unit 17.16 Internet marketing
344(2)
17.16.1 Website fundamentals
345(1)
Unit 17.17 Headshots
346(2)
Unit 17.18 Money jobs
348(2)
18 Auditioning
350(15)
Unit 18.1 Audition guidelines
351(1)
Unit 18.2 A few words of encouragement
351(1)
Unit 18.3 They're on your side
352(1)
Unit 18.4 Your best self
352(1)
Unit 18.5 Appearance
353(1)
Unit 18.6 Audition material
353(1)
Unit 18.7 Audition portfolio of songs
354(4)
Exercise 18A Your audition song portfolio
355(3)
Unit 18.8 Preparation of sheet music
358(1)
Unit 18.9 Anatomy of the audition
359(1)
Unit 18.10 Audition "don'ts"
360(1)
Unit 18.11 Nerves
361(2)
Unit 18.12 When things go wrong
363(1)
Unit 18.13 Practice
363(1)
Exercise 18B Write it down and remember -- the audition record
363(1)
Unit 18.14 It's all about acting and singing well
364(1)
19 A winning attitude
365(10)
Unit 19.1 Focus on what you can control, not what you can't
366(1)
Unit 19.2 Attitude and belief in yourself
366(1)
Unit 19.3 Habit One: "I Will"
367(1)
Exercise 19A Making success a practical reality
367(1)
Unit 19.4 Habit Two: respect
368(1)
Unit 19.5 Habit Three: commitment to the success of the project
369(1)
Unit 19.6 Habit Four: embracing criticism
369(1)
Unit 19.7 Habit Five: an ongoing commitment to training and tuning
370(1)
Unit 19.8 Habit Six: winners hang with winners
371(2)
Exercise 19B The workout buddy
372(1)
Unit 19.9 Habit Seven: seeing the long term
373(1)
Unit 19.10 Luck
374(1)
Subject index 375(13)
Show, character, and song index 388
Rocco Dal Vera was Professor of Drama at the University of Cincinnatis College-Conservatory of Music where he headed the Division for Musical Theatre, Acting, Opera, Dance, Arts Administration, Theatre Design and Production. He is the author and editor of six books including Voice: Onstage and Off with Robert Barton.



Joe Deer is Head of Musical Theatre at Wright State University, as well as being an experienced director, choreographer, actor, dancer, stage manager, and artistic director. He has been a musical theatre educator for almost thirty years, and is a frequent contributor to theatre publications, including Teaching Theatre Journal and Dramatics Magazine.