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Acting in Musical Theatre: A Comprehensive Course [Minkštas viršelis]

4.24/5 (78 ratings by Goodreads)
, (Wright State University, Ohio, USA)
  • Formatas: Paperback / softback, 450 pages, aukštis x plotis: 246x174 mm, weight: 953 g, 20 Tables, black and white
  • Išleidimo metai: 09-May-2008
  • Leidėjas: Routledge
  • ISBN-10: 0415773199
  • ISBN-13: 9780415773195
Kitos knygos pagal šią temą:
Acting in Musical Theatre: A Comprehensive CourseDidesnis paveikslėlis
  • Formatas: Paperback / softback, 450 pages, aukštis x plotis: 246x174 mm, weight: 953 g, 20 Tables, black and white
  • Išleidimo metai: 09-May-2008
  • Leidėjas: Routledge
  • ISBN-10: 0415773199
  • ISBN-13: 9780415773195
Kitos knygos pagal šią temą:
Pastovi nuoroda: https://www.kriso.lt/db/9780415773195.html
Raktažodžiai:
Acting in Musical Theatre is the only complete course in approaching a role in a musical. It is the first to combine acting, singing and dancing into a comprehensive guide, combining what have previously been treated as three separate disciplines.











This book contains fundamental skills for novice actors, practical insights for professionals, and even tips to help veteran musical performers refine their craft.









Drawing on decades of experience in both acting and teaching, the authors provide crucial advice on all elements of the profession, including:







fundamentals of acting applied to musical theatre script, score and character analysis personalizing your performance turning rehearsal into performance acting styles in the musical theatre practical steps to a career.









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

Recenzijos

'This is the book we have all been waiting for! This book makes the textured work involved in the technique of acting in a musical more of a game and exploration than a chore. Whether for the beginner or the experienced professional, the student or the teacher, the fan or the critic, this text is a must-have and a must-read.' Victoria Clark, Tony Award-winning actress, The Light In the Piazza



'Though I attended a highly respected drama department for six years (two degrees), there was never a single course offered having anything to do with musical theatre. Therefore, I am all the more impressed by Acting in Musical Theatre, which gives a comprehensive and thought-provoking guideline to the study of performing on the musical stage. I found it fascinating and functional, and I am sure you will, as well.' Tom Jones, Tony Award-Winning Author/Lyricist of The Fantasticks, 110 In the Shade and I Do, I Do!



'At last a book that assists us in guiding our students to inhabit characters in musicals organically! A major milestone in musical theatre pedagogy.' Robert Barton, Author of Acting: Onstage and Off



'Deer and Dal Vera break down the complex terrain of musical theatre into digestible bits. Whether you are a fledgling musical theatre artist or a seasoned professional, this book offers an array of insights, suggestions, guideposts and exercises which you will find invaluable.' Michael Ellison, Bowling Green State University, USA



'Acting in Musical Theatre covers it all acting, musical terminology, style and auditions. It is a must-have resource for all teachers and students of performing in musical theatre.' Mary Jo Lodge, Lafayette College, USA



'A lively, engaging read that fills a heretofore empty niche. The authors do not patronize, but help the student focus on those aspects of the profession under his or her control.' Judith A. Sebesta, University of Missouri-Columbia, USA









'Beautifully articulate and no-nonsense. A gift of a text for musical theatre.' Lara Teeter, Tony Award Nominee: On Your Toes. Head of Musical Theatre, Webster University, USA



'A very detailed, clearly structured programme of work, with a good range of contextual information to support the practical enterprise... Deer and Dal Vera are meticulous in breaking down their sections and chapters into numbered sub-sections, and ensuring that their table of contents lists all of these.' - Studies in Musical Theatre



'A great resource for musical theater acting... Recommended.' - CHOICE

Dedication xx
Foreword xxi
Lynn Ahrens
Special Thanks and Acknowledgements xxiv
Introduction xxvii
Training for the musical theatre xxvii
Acting in Musical Theatre -- the book xxviii
How to use this book xxx
SECTION I FUNDAMENTALS OF ACTING IN MUSICAL THEATRE
1(50)
Acting Basics - The Foundation
1(14)
Unit 1.1 What makes good acting?
1(1)
Unit 1.2 Preparing to work
2(1)
Unit 1.3 Giving and taking feedback
3(4)
Taking feedback
3(1)
Giving feedback
4(1)
Asking for feedback
5(1)
Exercise 1A Creating a workbook
5(1)
Safe space
6(1)
Unit 1.4 Being an actor
7(8)
The Magic ``IF''
8(1)
Believability and truth
8(1)
First time
9(1)
Public solitude and relishing exposure
9(1)
Acting is believing -- the difference between acting and performing
9(1)
Playful work, disciplined play
10(1)
Theatricality
10(1)
Inside out/outside in
11(4)
Acting Basics - Step-by-Step
15(30)
Unit 2.1 Acting fundamentals
15(1)
Unit 2.2 Given circumstances
16(3)
Facts of the world of your script
16(1)
Exercise 2A Bringing In your research
17(1)
Inferring given circumstances
17(1)
Worldview
18(1)
Exercise 2B What is my worldview?
18(1)
Unit 2.3 Relationships
19(6)
Exercise 2C List the relationships
19(1)
My world and welcome to it
20(1)
Exercise 2D Everything is mine
20(1)
Endowment
20(1)
Exercise 2E Endowing
21(1)
Exercise 2F The liars' club
21(1)
Metaphoric relationships
21(1)
Exercise 2G Playing the relationships
22(1)
Relationships change
23(1)
Exercise 2H Metaphoric relationships
23(1)
Who am I, anyway?
24(1)
Unit 2.4 Objectives
25(7)
Why versus what for
25(1)
Exercise 2I Why versus what for
26(1)
Super objective
27(2)
Exercise 2J Objective hierarchy
29(1)
Testing the objective
30(1)
Specific ideal outcome
31(1)
Exercise 2K Specific ideal outcome
31(1)
Unit 2.5 Beats
32(2)
Identifying beats
32(1)
Exercise 2L Finding the beat
33(1)
Fight only for what you want right now
33(1)
Unit 2.6 Obstacles
34(4)
External and internal obstacles
34(1)
Exercise 2M Identifying obstacles
35(1)
Physicalizing the struggle
35(1)
Exercise 2N Obstacles: What's in your way?
36(1)
Emotions are obstacles (but in a good way)
36(2)
Exercise 2O Push-me-pull-you
38(1)
Unit 2.7 Strategy and tactics
38(2)
Exercise 2P Applying the concepts
40(1)
Unit 2.8 Evaluation, discovery and adjustment
40(2)
The creative mood and preparation
41(1)
Unit 2.9 Text, subtext and inner monologue
42(3)
Exercise 2Q Subtext and inner monologue
43(2)
Making It Matter
45(6)
Exercise 3A Tell the truth, now live it large
46(1)
Unit 3.1 Raising the stakes
47(1)
Unit 3.2 Meeting the emotional demands of the music
47(1)
Exercise 3B Or else I'll die
48(1)
Unit 3.3 Citizenship in the Land of IF -- the creative state
48(3)
SECTION II SCORE AND LIBRETTO ANALYSIS AND STRUCTURE
51(114)
Musical Analysis-Listening for Clues
51(24)
Unit 4.1 Introduction
51(2)
Learn to listen
52(1)
The music never lies
52(1)
Unit 4.2 Kinds of musical information
53(11)
Exercise 4A Ways of listening
54(1)
Exercise 4B Easy listening
54(1)
Composer's markings
55(1)
Emotional qualities
56(1)
Exercise 4C Emotional qualities
57(1)
Melodic shape
57(1)
Exercise 4D Melodic shape
57(1)
Tempo quality and changes
58(1)
Exercise 4E Tempo changes
58(1)
Rhythmic quality
59(1)
Exercise 4F Rhythmic styles
59(1)
Musical key
60(1)
Modulations
60(1)
Exercise 4G Changing keys
60(1)
Tensions and releases
60(1)
Musical accents
61(1)
Exercise 4H Using accents
61(1)
Musical dynamics
62(1)
Exercise 4I Dynamic changes
62(1)
Musical idiom
62(1)
Musical character quality
63(1)
The relationship between melody and accompaniment
63(1)
The relationship between dialogue and underscoring
63(1)
Exercise 4J Reunited ... and it sounds so good
64(1)
Unit 4.3 Architecture of the traditional theatre song
64(3)
Introduction or ``intro''
65(1)
Verse
65(1)
Chorus or refrain
66(1)
Payoff or ride-out
66(1)
Exercise 4K Naming of parts
67(1)
Unit 4.4 A closer look at the chorus
67(2)
Exercise 4L Learn your ABCs
69(1)
Unit 4.5 Contemporary variations
69(1)
Exercise 4M Identifying song structure
70(1)
Unit 4.6 The musical ``voice'' of a song and of a character
70(3)
Musical voice reveals character function
71(1)
Musical style reveals character status
72(1)
Voice type can reveal a character's nature
72(1)
Unit 4.7 A final thought on musical analysis
73(2)
Working with Words - The Language of the Lyric and Libretto
75(26)
Unit 5.1 Acting through language
76(1)
Unit 5.2 Lyrics as poetry
77(2)
Exercise 5A Playing the poetry
79(1)
Unit 5.3 Poetry versus prose
79(1)
Exercise 5B Playing the Prose
80(1)
Unit 5.4 Lyric rhythm
80(3)
Exercise 5C Poem rhythm versus prose rhythm
83(1)
Unit 5.5 Rhyme
83(3)
Exercise 5D Rhyme scheme
86(1)
Unit 5.6 Alliteration and consonance
86(2)
Exercise 5E Catching the consonants/voicing the vowels
87(1)
Unit 5.7 Rhetoric
88(6)
Exercise 5F Simple sentences
91(2)
Exercise 5G Simple to complex sentences
93(1)
Unit 5.8 Simile and metaphor-telling you howl feel
94(1)
Exercise 5H I'm a metaphor (or like a simile)
95(1)
Unit 5.9 Changing lists into ladders
95(1)
Unit 5.10 If-then, either-or, yes-but, not this-but that
96(1)
Unit 5.11 Punctuation
97(2)
Unit 5.12 Period
99(2)
Elements of storytelling
101(35)
Unit 6.1 Know what story you're telling
101(1)
Unit 6.2 Divide and conquer your text
102(3)
Story events
102(1)
French scenes
103(1)
Musical moments
104(1)
Exercise 6A Divide and conquer
105(1)
Unit 6.3 Plot
105(9)
Exercise 6B Plot outline
106(1)
Exercise 6C Fairytale-ing your story
107(1)
Events seen (and unseen)
107(1)
Your character's events
108(3)
Exercise 6D My story
111(1)
Backstory
111(1)
Exercise 6E Backstory
112(1)
What happens?
112(1)
Exercise 6F Who does what to whom?
112(1)
What happens ... to me?
113(1)
Exercise 6G My story, part 2
113(1)
Unit 6.4 Conflict
114(3)
Thematic conflict
114(1)
Exercise 6H Finding the thematic conflict
115(1)
Personal conflicts
116(1)
Conflict in musical comedies
117(1)
Unit 6.5 Characters carry the argument
117(2)
Characters embody values
118(1)
This I believe
119(1)
Unit 6.6 Dramatic function
119(4)
Why is it there?
120(1)
Dramatic function of reprises
120(3)
Exercise 6I Musical moments
123(1)
Unit 6.7 Kinds of text
123(2)
Spoken and sung text
124(1)
Musical dialect
124(1)
Physical texts
125(1)
Unit 6.8 Location, location, location
125(1)
Unit 6.9 Time
126(2)
Unit 6.10 visual elements - how design affects your performance
128(1)
Unit 6.11 A review
129(3)
Unit 6.12 How to use this information
132(4)
Character Analysis
136(29)
Introduction
135(2)
Unit 7.1 Exposition
137(1)
Characters tell us about themselves
137(1)
Characters tell us about each other
137(1)
Authors tell us about characters
138(1)
The characters' actions tell us about them
138(1)
Unit 7.2 Character facts
138(4)
Exercise 7A Grab bag character -- part I
142(1)
Unit 7.3 Attitudes
142(4)
Exercise 7B Grab bag character -- part II
145(1)
Unit 7.4 Ambitions
146(3)
Exercise 7C Grab bag character -- part III
147(1)
Exercise 7D Grab bag character -- part IV
148(1)
Exercise 7E Dating service
148(1)
Exercise 7F Eulogies
148(1)
Unit 7.5 Archetypes, stock characters and character types
149(9)
Archetypal roots
150(1)
Ancient Greek drama
150(1)
Commedia dell' arte characters
151(1)
Nineteenth- and early twentieth-century comedy, melodrama and minstrelsy
152(4)
Creating characters using archetypes
156(1)
Exercise 7G Identifying archetypes
157(1)
Exercise 7H Archetype matching
157(1)
Exercise 7I Name that archetype!
158(1)
Unit 7.6 The world of the musical
158(1)
Unit 7.7 Bringing all the character research together
159(2)
Exercise 7J Alike/different
160(1)
Exercise 7K Visual journal
160(1)
Exercise 7L Cartoon your character
161(1)
Unit 7.8 Selective reality of your show
161(4)
SECTION III THE JOURNEY OF THE SONG
165(60)
The Journey Begins
165(28)
Unit 8.1 Four journeys
165(2)
Exercise 8A Mapping the trip
166(1)
Unit 8.2 A journey to where? Trip objectives
167(2)
Unit 8.3 Pursue objectives -- don't play moods or states of being
169(1)
Exercise 8B Moods into objectives
169(1)
Unit 8.4 Beat breakdowns
170(4)
Exercise 8C Breaking it into beats
173(1)
Unit 8.5 Beat objectives
174(5)
Exercise 8D Choosing objectives
177(1)
Exercise 8E Rehearsing with objectives
178(1)
Unit 8.6 Taking the journey in small steps
179(14)
Internal and external pressure
179(1)
Exercise 8F Underpressure
180(1)
Tactical actions - verbs to do by
181(2)
Verbs can hurt or heal
183(2)
Exercise 8G Intimidating or attracting with tactics
185(1)
Discovery
186(2)
Exercise 8H Planting and unearthing discoveries
188(1)
Exercise 8I What just happened?
189(1)
Evaluation and adjustment
189(1)
Exercise 8J Reacting and responding
190(3)
Working with Relationships
193(18)
Unit 9.1 Specific relationship
193(4)
Exercise 9A Specifying relationship
196(1)
Exercise 9B When I look at you
196(1)
Unit 9.2 Changing relationships
197(1)
Exercise 9C I am changing
197(1)
Unit 9.3 Relationships as obstacles
198(2)
Exercise 9D You are in my way (and I'm in yours)
199(1)
Unit 9.4 Relationship goal -- I want more
200(1)
Exercise 9E Upgrading relationships
201(1)
Unit 9.5 Relationship goal -- love me as I want to be loved
201(2)
Exercise 9F How I want to be loved
203(1)
Unit 9.6 Power, control and status
203(3)
Exercise 9G Flaying to win
205(1)
Unit 9.7 Alone onstage
206(5)
Inner-directed songs
206(1)
Absent partner-directed songs
207(1)
Conversations with God
207(1)
Audience-directed songs
208(1)
Exercise 9H You, me and God
208(3)
Intensifiers
211(14)
Unit 10.1 This is the moment
211(2)
Exercise 10A Now as never before
213(1)
Unit 10.2 Why must I sing this now?
213(1)
Exercise 10B Pressure to perform
214(1)
Unit 10.3 Backstory and frontloading
214(5)
Exercise 10C Using backstory and frontloading
218(1)
Exercise 10D Three through the door
218(1)
Unit 10.4 Invented memory
219(3)
Exercise 10E Creating a fantasy memory
220(2)
Exercise 10F Creative fantasy
222(1)
Unit 10.5 The cost of failure -- what's at stake?
222(3)
Exercise 10G Finding the stakes and raising them
223(2)
SECTION IV MAKING IT A PERFORMANCE
225(58)
Discovering Your Phrasing
226(17)
Unit 11.1 Lyrics are dialogue
226(2)
Exercise 11A Listening for emphasis
227(1)
Unit 11.2 Monologuing the lyric
228(5)
Exercise 11B Reading the lyric
229(1)
Exercise 11C Meaning the lyric
229(2)
Exercise 11D Lyric as monologue
231(2)
Exercise 11E Speak -- sing -- speak
233(1)
Exercise 11F Emphatic words
233(1)
Unit 11.3 Returning to music
233(1)
Exercise 11G Returning to the music
234(1)
Unit 11.4 Singing ideas instead of notes and words
234(1)
Exercise 11H Singing your objective
235(1)
Unit 11.5 Phrasing with breath
235(2)
Using breathing to phrase ideas
236(1)
Unit 11.6 Front phrasing and back phrasing
237(2)
Exercise 11I Back phrasing
237(1)
Exercise 11J Front phrasing
238(1)
Exercise 11K Research phrasing styles
238(1)
Exercise 11L Impersonating phrasing
239(1)
Unit 11.7 It's a musical, not a play-zical!
239(4)
Exercise 11M Vowels only
239(1)
Exercise 11N I'm an instrument
239(1)
Exercise 11O Scat singing
240(1)
Exercise 11P Remastering
240(3)
Staging Your Song
243(32)
Unit 12.1 A common language for working on the stage
243(2)
Exercise 12A Onstage twister
244(1)
Unit 12.2 Body positions
245(1)
Unit 12.3 Stage positions and visual impact
245(1)
Exercise 12B Living tableau
246(1)
Unit 12.4 Staging terms
246(1)
Unit 12.5 Staging yourself
247(1)
Unit 12.6 An external expression of the inner journey
247(1)
Unit 12.7 Generating your own movement and staging
248(1)
Impulse leads to action
248(1)
Unit 12.8 Inhabiting gesture
249(1)
Unit 12.9 Illustration versus gesture
250(1)
Unit 12.10 Anchoring
250(8)
Anchoring things -- a 3-D map of your outer world
250(1)
Exercise 12C Giving directions
251(3)
Exercise 12D Picture it this way
254(1)
Anchoring ideas -- a 3-D map of your inner world
255(2)
Exercise 12E Find and anchor the argument, physically
257(1)
Unit 12.11 Playing multiple roles in the same song
258(1)
Unit 12.12 When to move
259(3)
Exercise 12F Action figure statues
262(1)
Unit 12.13 Relating actions to anchors
262(2)
Exercise 12G Action figures: the sequel
263(1)
Unit 12.14 Scoring your staging
264(1)
Unit 12.15 Dance movement
264(5)
Unit 12.16 Sharing your performance with the audience
269(1)
Unit 12.17 Scale
269(1)
Exercise 12H Calibrating the space
270(1)
Unit 12.18 What is a ``button''?
270(5)
Rehearsal into Performance
275(8)
Unit 13.1 Begin at the beginning
275(1)
Unit 13.2 Layering
276(1)
Unit 13.3 Setting goals
276(1)
Unit 13.4 Exploring and experimenting
277(1)
Unit 13.5 Room for failure
277(1)
Unit 13.6 Changing venues
278(1)
Unit 13.7 Adding elements
278(1)
Unit 13.8 Previews and opening night
279(1)
Unit 13.9 Advice
279(1)
Unit 13.10 Hits and flops
280(1)
Unit 13.11 Your evolving technique
280(3)
Exercise 13A Rehearsal journal
280(3)
SECTION V STYLE IN MUSICAL THEATRE
283(85)
What is style?
283(16)
Unit 14.1 Evolving notions of style
284(1)
Unit 14.2 Audience awareness of style
285(1)
Unit 14.3 The human truth of style
286(1)
Unit 14.4 Fundamental assumptions about style
286(1)
Unit 14.5 Theatrical conventions
287(1)
Unit 14.6 Conventional behavior
288(1)
Unit 14.7 Analyzing the worldview of a style
289(10)
Value systems
289(1)
Romance and sex
290(1)
Relationship to authority
291(1)
Social ideal
291(2)
Identifying the social ideal
293(1)
Beauty and fashion
293(1)
Performance tradition and style
294(2)
Self-conscious use of performance traditions
296(1)
Historical accuracy and modern perceptions of style
296(3)
Style Tags
299(15)
Exercise 15A Pop music style-go-round
299(1)
Unit 15.1 What are style tags?
300(1)
Exercise 15B Name the tags
300(1)
Unit 15.2 Vocal style tags
300(6)
Diction
301(1)
Tonality
302(1)
Exercise 15C Painting with vocal colors
303(1)
Vibrato versus straight
303(1)
Exercise 15D Rates of vibrato
303(1)
Exercise 15E Vibrato onset
304(1)
Exercise 15F Combining vibrato skills
304(1)
Phrasing
304(1)
Researching vocal styles
305(1)
Exercise 15G Breakdown
306(1)
Unit 15.3 Physical style tags
306(3)
Posture and silhouette
306(1)
Formality of movement
306(1)
Fashion and movement
307(1)
Gestural vocabulary
308(1)
Unit 15.4 Attitudes into actions
309(1)
Unit 15.5 Style and truth
310(4)
Style Overviews
314(54)
Unit 16.1 European operetta
314(6)
Background and worldview
314(1)
Social ideals and values
315(1)
Romance and sex
316(1)
Beauty and fashion
316(1)
Relationship to authority
316(1)
Performance tradition
317(1)
Style tags
317(2)
Examples from the style/genre
319(1)
Research resources
319(1)
Unit 16.2 Gilbert and Sullivan operetta
320(9)
Background and worldview
320(2)
Social ideals and values
322(1)
Romance and sex
322(1)
Beauty and fashion
323(1)
Relationship to authority
323(1)
Performance tradition
324(1)
Style tags
325(2)
Examples from the style/genre
327(1)
Research resources
327(2)
Unit 16.3 Musical comedy
329(9)
Background and worldview
329(1)
Social ideals and values
330(1)
Romance and sex
331(1)
Beauty and fashion
331(1)
Relationship to authority
332(1)
Performance tradition
332(2)
Style tags
334(3)
Research resources
337(1)
Unit 16.4 Golden Age musical drama
338(12)
Background and worldview
338(2)
Social ideals and values
340(1)
Romance and sex
341(1)
Beauty and fashion
342(1)
Relationship to authority
343(1)
Performance tradition
344(1)
Style tags
344(4)
Examples from the style/genre
348(1)
Research resources
349(1)
Unit 16.5 Rock musicals
350(18)
Background and worldview
350(1)
Social ideals and values
351(1)
Romance and sex
352(1)
Beauty and fashion
353(1)
Relationship to authority
353(1)
Performance tradition
354(1)
Style tags
355(4)
Examples from the style/genre
359(1)
Research resources
359(2)
Exercise 16A In the manner of ...
361(1)
Exercise 16B Have you heard the one about ...
361(1)
Exercise 16C I am the very model
361(1)
Exercise 16D Sing with a prop
362(1)
Exercise 16E Look at my ...
362(1)
Exercise 16F Performance tradition
362(1)
Exercise 16G I've got a little problem
362(1)
Exercise 16H Celebrity Roast
363(1)
Exercise 16I Yo, baby! I love ya!
363(1)
Exercise 16J Anything you can do, I can do better
363(1)
Exercise 16K Archetypes in the style of ...
363(1)
Exercise 16L I'm the greatest star
364(1)
Exercise 16M Style day
364(4)
SECTION VI THE PROFESSION
368(65)
Do You Have the Stuff?
368(39)
Unit 17.1 Talent
369(1)
Exercise 17A How do you measure up?
369(1)
Unit 17.2 Charisma
370(1)
Unit 17.3 Castability and type
370(8)
Exercise 17B Your basic profile
372(1)
Exercise 17C Know your musical theatre type
372(2)
Exercise 17D You remind me of
374(1)
Exercise 17E The sociology experiment
374(1)
Exercise 17F Film/television typing
375(2)
Exercise 17G Bringing it into focus
377(1)
Unit 17.4 Skills and know-how
378(3)
Exercise 17H Skills inventory
379(1)
Exercise 17I Can you act?
380(1)
Unit 17.5 Connections and an understanding of the market
381(1)
Planning and setting goals
381(1)
Unit 17.6 Market research
382(1)
Unit 17.7 Where the work is
383(7)
Children's theatre
383(1)
Outdoor drama
384(1)
Theme parks
384(1)
Arena shows
384(1)
Cruise ships
385(1)
Summer stock
385(1)
Dinner theatre
386(1)
Industrial shows
386(1)
Regional theatre
387(1)
Non-union tours
387(1)
Off-Broadway
388(1)
Equity national tours
389(1)
Broadway
389(1)
Showcases
389(1)
Workshops
390(1)
Cabarets
390(1)
Unit 17.8 Finding the auditions
390(1)
Unit 17.9 Assessing the job
391(1)
Unit 17.10 More than musicals
392(1)
Unit 17.11 Unions
393(1)
Unit 17.12 Agents and personal managers
394(1)
Unit 17.13 Personal networking and contacts
395(2)
Exercise 17J Managing your contacts
396(1)
Unit 17.14 Advertising tools -- your resume, headshot, demo, website
397(1)
Unit 17.15 Theatrical resumes
397(7)
Functions
398(1)
Formatting
398(1)
Style
399(1)
Keep it current
400(2)
Exercise 17K The business plan
402(2)
Unit 17.16 Money jobs
404(3)
Auditioning
407(18)
Unit 18.1 Audition guidelines
407(1)
Unit 18.2 A few words of encouragement
408(1)
Unit 18.3 They're on your side
409(1)
Unit 18.4 Your best self
409(1)
Unit 18.5 Appearance
410(1)
Unit 18.6 Audition material
411(1)
Unit 18.7 Audition portfolio of songs
412(4)
Exercise 18A Your audition song portfolio
412(4)
Unit 18.8 Preparation of sheet music
416(1)
Unit 18.9 Anatomy of the audition
417(2)
Unit 18.10 Audition ``don'ts''
419(1)
Unit 18.11 Nerves
420(2)
Unit 18.12 When things go wrong
422(1)
Unit 18.13 Practice
422(1)
Unit 18.14 It's all about acting and singing well
423(2)
A Winning Attitude
425(8)
Unit 19.1 Focus on what you can control, not what you can't
425(1)
Unit 19.2 Attitude and belief in yourself
426(1)
Unit 19.3 Respect
427(1)
Unit 19.4 Embracing criticism
427(1)
Unit 19.5 Training and tuning
428(1)
Unit 19.6 Commitment to the success of the project
429(1)
Unit 19.7 Winners hang with winners
430(2)
Exercise 19A The workout buddy
430(2)
Unit 19.8 Seeing the long term
432(1)
Unit 19.9 Luck
432(1)
Subject index 433(9)
Show, character and song index 442
Joe Deer is currently head of musical theatre at Wright State University and Founding Past President of the Musical Theatre Educators Alliance. He has been involved in musical theatre as an actor, director, choreographer or stage manager across more than one hundred productions.









Rocco Dal Vera is a professor at the University of Cincinnatis College-Conservatory of Music, specialising in vocal training. He is co-author of the book Voice: Onstage and Off, and founding editor of the Voice and Speech Review. He has featured as a voice artist more than 500 times in both film and television.