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How to Rehearse When There Is No Rehearsal: Acting and the Media [Minkštas viršelis]

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  • Formatas: Paperback / softback, 304 pages, aukštis x plotis x storis: 229x154x18 mm, weight: 490 g
  • Serija: Limelight
  • Išleidimo metai: 15-Mar-2007
  • Leidėjas: Limelight Editions
  • ISBN-10: 0879103426
  • ISBN-13: 9780879103422
Kitos knygos pagal šią temą:
  • Formatas: Paperback / softback, 304 pages, aukštis x plotis x storis: 229x154x18 mm, weight: 490 g
  • Serija: Limelight
  • Išleidimo metai: 15-Mar-2007
  • Leidėjas: Limelight Editions
  • ISBN-10: 0879103426
  • ISBN-13: 9780879103422
Kitos knygos pagal šią temą:
Spivak, an actress and coach, presents a guide to developing and building a character when there is no real rehearsal, providing 11 steps for character development that are based on the Stanislavsky System. She describes the system, the importance of rehearsal, and strategies for reading the script, developing relationships, writing a character background, and other elements to use when developing a character. The final section presents a condensed description of the steps and tips on working with directors, doing camera takes, and auditions. Indexes are by name, films and television programs, and plays. Annotation ©2007 Book News, Inc., Portland, OR (booknews.com)

(Limelight). This practical book on the subject of how to act, based on Ms. Spivak's forty years of acting, coaching, and teaching classes first at Herbert Berghof and Uta Hagen's HB Studio, then on her own provides a step-by-step system for analyzing and building a character organically, which can be applied even in the short time an actor has to prepare for auditions and for many television performances. Timely advice includes how to do camera takes, interpret and follow stage directions, and how to prepare for auditions and work in theater, film, television commercials, and television soap operas, sitcoms, and nighttime dramas.
Foreword Thoughts about Stanislavsky and Acting Today xi
Robert Blumenfeld
Preface The Need for This Book xvii
Acknowledgments xxi
Part 1 Acting and Current Working Conditions
1(48)
The Stanislavsky System Explored
3(16)
Why Rehearse?
19(12)
Commitment and Practicing Alone
19(9)
Rehearsing Scenes for Class
28(3)
Film and Television: The End of Rehearsal
31(18)
Television Commercials
35(1)
Soap Opera and Nighttime Television Drama
36(5)
The Situation Comedy (Sitcom)
41(8)
Part 2 Rehearsing on Your Own
49(158)
Introduction
Developing the Process
51(8)
Impulses and Instincts
59(3)
Concentration and Relaxation
62(3)
Substitution and Endowment
65(4)
Step 1: How to Read the Script
69(12)
Finding the Themes
76(1)
Finding the Playwright's Music
77(4)
Step 2: Developing the Relationships
81(14)
First Readings
85(7)
Revealing the Subtext
92(3)
Step 3: Paying Attention to the Inner Objects
95(8)
Step 4: Finding the Objective
103(24)
Step 5: Following Up on Place and Circumstances: The Here and Now
127(10)
Place
127(7)
Circumstances
134(3)
Step 6: Planning the Activity
137(10)
Step 7: Delving into the Prior Relationship
147(6)
Step 8: The Character Chart, Part 1: Writing a Preliminary Character Background
153(16)
Introduction
153(3)
Background Questions
156(13)
Step 9: The Character Chart, Part 2: Deciding on the Character Traits
169(12)
More about Negative Character Traits
174(4)
Two Exercises
178(3)
Step 10: The Character Chart, Part 3: Life Drives
181(6)
Step 11: Becoming the Character
187(20)
Essences
189(12)
Complete Character Charts
201(6)
Part 3 The Steps Condensed When You Have No Time: My Experience in the Media
207(56)
The Ideal and the Practical: Working in Film and Television
209(20)
The Director and the Camera
229(18)
Camera Takes and How to Deal With Them
229(9)
Working with Directors: Translating the Director's Language
238(9)
Auditions
247(16)
Plays
250(2)
Film
252(3)
Television
255(2)
Prepared Monologues
257(6)
A Parting Word 263(2)
Glossary of Acting Terms 265(4)
Bibliography 269(2)
Index of People 271(4)
Index of Films and Television Programs 275(2)
Index of Plays 277(2)
About the Author and Collaborator 279