| Acknowledgements |
|
viii | |
| Foreword |
|
x | |
|
|
| Introduction |
|
xiii | |
|
Part I: The Hazards of Acting |
|
|
1 | (24) |
|
|
|
3 | (9) |
|
Selecting and Accomplishing Stage Tasks |
|
|
12 | (6) |
|
|
|
18 | (7) |
|
Part II: Personal Involvement |
|
|
25 | (12) |
|
Introduction to Analogy: Content before Form |
|
|
27 | (10) |
|
Part III: Lies Like Truth |
|
|
37 | (18) |
|
|
|
39 | (8) |
|
|
|
47 | (8) |
|
Part IV: Activating the Intention |
|
|
55 | (14) |
|
|
|
57 | (5) |
|
|
|
62 | (7) |
|
Part V: First Work with a Partner: Scenic Exercises |
|
|
69 | (50) |
|
Encounters in Structured Circumstances |
|
|
71 | (11) |
|
First Work on Simple Scenes: Improvising upon Scenic Elements |
|
|
82 | (7) |
|
Reprise: Encounters from Another Perspective |
|
|
89 | (15) |
|
Scenic Improvisations from the Other Perspective |
|
|
104 | (15) |
|
Part VI: Raising Stakes: Exercising the Imagination |
|
|
119 | (28) |
|
Endowing: Recording and Projecting Sensory Images |
|
|
121 | (11) |
|
Sense-Memory: Sequential Exercises ``With Air'' |
|
|
132 | (9) |
|
|
|
141 | (6) |
|
Part VII: From the Outside In: Character Exercises |
|
|
147 | (12) |
|
Character Elements: From Observation to Impersonation |
|
|
149 | (10) |
|
Part VIII: Dramatic Extensions: Extravagant Expression |
|
|
159 | (18) |
|
My ``Seven-Step Sonnet Solution'' for Poetry and Song |
|
|
161 | (16) |
|
Part IX: Conclusion: Results of the Process in Practice |
|
|
177 | (22) |
|
Former Students Performing |
|
|
179 | (20) |
|
|
|
199 | (9) |
|
|
|
201 | (2) |
|
B. Sequences of Sensory Exercises |
|
|
203 | (3) |
|
C. Basic Monologues and Scenes |
|
|
206 | (2) |
| About the Author |
|
208 | |
