Preface |
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Introduction |
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xii | |
Why the actor's body needs training |
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xii | |
What is not movement training for an actor? |
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xiii | |
A brief history of this method of movement training for actors |
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xiii | |
The purposes of movement training |
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xiii | |
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Part 1 The universal state |
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1 | (44) |
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1 The universal state for the group |
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3 | (12) |
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3 | (1) |
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4 | (6) |
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4 | (1) |
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5 | (1) |
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5 | (1) |
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6 | (1) |
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7 | (1) |
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8 | (1) |
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8 | (1) |
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8 | (1) |
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9 | (1) |
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9 | (1) |
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9 | (1) |
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10 | (2) |
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10 | (1) |
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10 | (1) |
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Who stole the honey from the honey pot? |
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11 | (1) |
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12 | (1) |
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12 | (3) |
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12 | (1) |
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13 | (2) |
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2 Space, dimension and rhythm |
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15 | (8) |
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15 | (7) |
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15 | (2) |
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17 | (1) |
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17 | (1) |
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17 | (1) |
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18 | (1) |
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18 | (1) |
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19 | (2) |
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21 | (1) |
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Movement in practice (Greek Tragedy: The Burial at Thebes (Lucy Pitman Wallace) |
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22 | (1) |
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3 The universal state for the individual |
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23 | (4) |
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23 | (1) |
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24 | (1) |
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24 | (1) |
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The importance of pure movement for the voice |
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25 | (1) |
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25 | (2) |
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4 Pure movement to achieve neutral |
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27 | (18) |
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Articulation exercises for different parts of the body |
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28 | (17) |
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The stance: parallel feet |
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28 | (1) |
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29 | (2) |
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31 | (2) |
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33 | (1) |
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33 | (1) |
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34 | (2) |
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36 | (2) |
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38 | (3) |
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41 | (1) |
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Floor exercises for the spine |
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42 | (3) |
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Part 2 Movements with imagination at the heart of pure movement |
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45 | (60) |
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5 Core movement exercises |
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47 | (19) |
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47 | (4) |
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47 | (2) |
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49 | (1) |
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50 | (1) |
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Shaking down through the spine with bounces |
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50 | (1) |
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Swings (part of pure movement) |
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51 | (11) |
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53 | (1) |
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53 | (1) |
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54 | (1) |
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Figure of eight arm swing |
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55 | (1) |
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Arm swing into arm swing and peeping under |
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56 | (1) |
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57 | (1) |
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57 | (1) |
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58 | (1) |
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58 | (1) |
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59 | (1) |
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60 | (1) |
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61 | (1) |
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Figure of eight leg swing |
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62 | (1) |
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62 | (3) |
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62 | (1) |
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Swinging both arms over, bending down and peeping through |
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63 | (1) |
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Figure of eight arm swing |
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63 | (1) |
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Forearm and backhand swing |
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64 | (1) |
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Two armed partner swing in space |
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64 | (1) |
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Extra exercises for precision and suspension |
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65 | (1) |
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Run and fly (for balance) |
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65 | (1) |
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65 | (1) |
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65 | (1) |
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6 Dynamic movement: The Cat |
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66 | (22) |
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The Cat - sequence of movements |
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67 | (21) |
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67 | (1) |
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68 | (1) |
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68 | (1) |
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68 | (1) |
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69 | (1) |
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69 | (1) |
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70 | (1) |
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70 | (2) |
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72 | (1) |
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73 | (1) |
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73 | (1) |
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74 | (1) |
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75 | (1) |
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Big back arch to the floor |
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75 | (1) |
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76 | (1) |
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77 | (1) |
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78 | (1) |
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78 | (1) |
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79 | (1) |
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79 | (1) |
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79 | (1) |
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Three salutations to the sun on the right |
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80 | (2) |
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Three sweeping the sky on the right |
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82 | (1) |
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Swastika on the right leg |
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82 | (1) |
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83 | (1) |
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84 | (1) |
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Three salutations to the sun on the left |
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84 | (1) |
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Three sweeping the sky stretches on the left |
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85 | (1) |
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85 | (1) |
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Three recurring shoulder rolls over the right and left shoulders |
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85 | (3) |
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7 Acrobatics and tumbling for the acting student |
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88 | (9) |
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89 | (8) |
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An example of an acrobatic class for actors |
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89 | (1) |
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90 | (7) |
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97 | (6) |
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Neutral masks (masques noble) - notes from Jacques Le Coq |
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98 | (2) |
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Classic LeCoq neutral mask exercises |
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100 | (1) |
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100 | (1) |
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100 | (1) |
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Movement in practice: twenty movements |
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101 | (2) |
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103 | (2) |
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Part 3 Body awareness, trust and sensitivity |
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105 | (12) |
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10 Exploration of body and mind |
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107 | (2) |
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Trust and sensitivity exercises |
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107 | (2) |
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107 | (1) |
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Exploring face and breath |
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107 | (1) |
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Exploring hands and fingers |
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108 | (1) |
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11 Massage and relaxation |
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109 | (8) |
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109 | (3) |
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110 | (1) |
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Massage and body manipulation in threes |
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111 | (1) |
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112 | (5) |
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112 | (1) |
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113 | (1) |
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Falling into each other's arms |
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114 | (1) |
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115 | (1) |
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115 | (2) |
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Part 4 Observation and imagination |
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117 | (20) |
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119 | (3) |
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Imagination and transformation |
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119 | (1) |
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119 | (3) |
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122 | (8) |
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Movement in practice: animal work |
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123 | (1) |
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123 | (2) |
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Examples of animal classes |
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125 | (5) |
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125 | (1) |
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126 | (1) |
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126 | (1) |
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127 | (1) |
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127 | (1) |
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128 | (1) |
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128 | (2) |
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130 | (7) |
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131 | (4) |
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131 | (1) |
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132 | (2) |
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134 | (1) |
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134 | (1) |
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135 | (2) |
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Part 5 Imagination and transformation |
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137 | (49) |
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139 | (4) |
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140 | (1) |
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140 | (1) |
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140 | (1) |
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How to physicalise avarice |
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140 | (1) |
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140 | (1) |
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140 | (1) |
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141 | (1) |
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141 | (1) |
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141 | (1) |
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141 | (1) |
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141 | (1) |
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How to physicalise lust gluttony |
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141 | (1) |
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142 | (1) |
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142 | (1) |
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143 | (6) |
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Creative, imaginative and explorative movement |
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143 | (1) |
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Group movement and improvisation |
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143 | (6) |
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143 | (1) |
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144 | (1) |
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144 | (1) |
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144 | (1) |
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144 | (1) |
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Physicality for characters |
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145 | (1) |
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146 | (2) |
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148 | (1) |
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149 | (5) |
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An overview of period movement |
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149 | (3) |
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Period dance and movement |
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152 | (1) |
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152 | (2) |
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154 | (32) |
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An overview of period dance |
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154 | (2) |
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156 | (4) |
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156 | (1) |
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157 | (1) |
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157 | (3) |
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160 | (3) |
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160 | (1) |
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160 | (2) |
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162 | (1) |
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High Renaissance France and Elizabethan England |
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163 | (5) |
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163 | (1) |
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164 | (3) |
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167 | (1) |
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167 | (1) |
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Seventeenth century or Restoration dance |
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168 | (1) |
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168 | (1) |
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How to use dance as physical research for a play |
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169 | (1) |
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Glossary of period dance terms |
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170 | (2) |
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Movement in practice: The Man of Mode, Matthew Smith |
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172 | (1) |
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173 | (2) |
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To work on your voice: work on your body |
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175 | (3) |
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178 | (8) |
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178 | (1) |
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179 | (2) |
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181 | (1) |
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182 | (1) |
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182 | (1) |
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183 | (1) |
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184 | (1) |
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185 | (1) |
A note on Trish Arnold |
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186 | (2) |
Further reading |
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188 | (1) |
Index |
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189 | |