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Voice into Acting: Integrating Voice and the Stanislavski Approach 2nd edition [Minkštas viršelis]

3.14/5 (7 ratings by Goodreads)
(Independent scholar, UK), (University of Essex, UK)
  • Formatas: Paperback / softback, 328 pages, aukštis x plotis x storis: 244x190x20 mm, weight: 640 g, 58 bw illus
  • Serija: Performance Books
  • Išleidimo metai: 11-Feb-2021
  • Leidėjas: Methuen Drama
  • ISBN-10: 1350064912
  • ISBN-13: 9781350064911
Kitos knygos pagal šią temą:
Voice into Acting: Integrating Voice and the Stanislavski Approach 2nd editionDidesnis paveikslėlis
  • Formatas: Paperback / softback, 328 pages, aukštis x plotis x storis: 244x190x20 mm, weight: 640 g, 58 bw illus
  • Serija: Performance Books
  • Išleidimo metai: 11-Feb-2021
  • Leidėjas: Methuen Drama
  • ISBN-10: 1350064912
  • ISBN-13: 9781350064911
Kitos knygos pagal šią temą:
Pastovi nuoroda: https://www.kriso.lt/db/9781350064911.html
Raktažodžiai:

How can actors bridge the gap between themselves and the text and action of a script, integrating fully their learned vocal skills? How do we make an imaginary world real, create the life of a role, and fully embody it vocally and physically so that voice and acting become one?

Christina Gutekunst and John Gillett unite their depth of experience in voice training and acting to create an integrated and comprehensive approach informed by Stanislavski and his successors – the acting approach widely taught to actors in drama schools throughout the world.

This updated edition contains: a new chapter on vocal embodiment of actions, new findings from neuroscience supporting the approach, more exercises, warm-up routines for training, rehearsal and performance, and a completely new glossary of terms.

The authors create a step-by-step guide to explore how voice can:

- Respond to our thoughts, senses, feelings, imagination and will
- Fully express language in content and form
- Communicate imaginary circumstances and human experience
- Transform to adapt to different roles
- Connect to a variety of audiences and spaces

Featuring 55 illustrations by German artist, Dany Heck, Voice into Acting is an essential manual for the actor seeking full vocal identity in characterization, and for the voice teacher open to new techniques or an alternative approach to harmonize with the actor's process.

Recenzijos

The authors combine a depth of experience in voice teaching and in acting that enables them to write with authority, wisdom and clarity... The material is thorough, detailed, and very well organized. Strongly recommended. * David Carey, Voice and Text Director UK and USA * A unique and valuable resource for all those who wish to explore a cohesive and fully integrated method for bringing a character to vivid life... engaging the voice, body, and mind. * Theatre Topics, USA *

Daugiau informacijos

A new edition of the leading textbook that integrates voice training and skills into the acting process and techniques established by Stanislavsky and his followers
List of Illustrations
ix
Foreword xii
Jan Haydn Rowles
Edda Sharpe
Acknowledgements xiii
Introduction 1(6)
The challenge for the actor
2(2)
The challenge for the voice teacher
4(1)
What's in this book
4(3)
Part One Laying the Foundations
7(22)
Introduction
7(1)
1 The Organic Acting Approach and the Voice
8(9)
Making circumstances and character your own
8(1)
Integrating the voice
9(1)
Representational or organic - how is voice affected?
10(2)
What other problems can arise?
12(3)
What are the solutions?
15(1)
To sum up
15(2)
2 The Organic Acting Approach and the Brain
17(12)
Impulses and psycho-physical connection
17(1)
The brain
17(1)
The nervous system
18(2)
An actor's work with the brain
20(5)
Stanislavski and neuroscience
25(1)
To sum up
26(3)
Part Two The Essential Vocal Six - And Integrating Acting Into Voice
29(100)
Introduction and How to Work
29(2)
3 Alignment - Backbone ot the Action
31(22)
What is it?
31(1)
What is it for the actor?
32(1)
How it works
33(18)
Integration into acting
51(1)
To sum up
52(1)
4 Breath - The Great Creative Connector
53(32)
What is it?
53(1)
What is it for the actor?
53(2)
How it works
55(7)
Breath support and control
62(20)
Integration into acting
82(1)
Blocked breath
82(2)
To sum up
84(1)
5 Centred Onset of Sound - The Vocal Identity of the Actor
85(9)
What is it?
85(1)
What is it for the actor?
86(1)
How it works
86(6)
Integration into acting
92(1)
To sum up
93(1)
6 Pitch Range - The Music of Meaning
94(9)
What is it?
94(1)
What is it for the actor?
94(1)
How it works
94(7)
Integration into acting
101(1)
To sum up
102(1)
7 Resonance - Vibrating the Experience
103(14)
What is it?
103(1)
What is it for the actor?
103(1)
How it works
104(8)
Integration into acting
112(3)
To sum up
115(2)
8 Articulation - Shaping Thought and Action
117(12)
What is it?
117(1)
What is it for the actor?
117(1)
How it works
117(7)
Integration into acting
124(2)
To sum up
126(1)
The Vocal Givens in symbols
127(2)
Part Three Integrating Voice into the Organic Acting Process
129(100)
Introduction and How to Work
129(1)
9 Interval - Receiving and Responding
130(5)
Two travellers
130(1)
Receiving and responding
131(4)
10 Awareness, Ease and Focus
135(13)
Awareness and experience
135(1)
The vocal connection
136(1)
Ease and focus
137(2)
The vocal connection
139(8)
To sum up
147(1)
11 The Action - Given Circumstances, Interaction and Objectives
148(19)
The given circumstances
148(1)
The Magic If
149(1)
The vocal connection
149(3)
Interacting and responding with others
152(1)
The vocal connection
153(2)
Objectives
155(1)
The vocal connection
156(3)
Objectives on text
159(7)
To sum up
166(1)
12 Seeing, Sensing and Feeling
167(9)
Images
167(3)
Sensing
170(2)
Feeling
172(3)
To sum up
175(1)
13 Embodied Vocal Action
176(15)
Physical actions
176(2)
Preparation exercises
178(3)
Actions on text
181(3)
Directorial challenges
184(1)
Textual challenges
185(5)
To sum up
190(1)
14 Character Voice
191(17)
Background and given circumstances
192(1)
Drives
193(2)
Psycho-physical expression
195(7)
Embodying the character voice through the spine
202(2)
Create a character voice
204(2)
Exploring through improvisation
206(1)
Do's and don'ts for character voice
206(1)
To sum up
207(1)
15 The Actor in the Space
208(21)
The space - centre and periphery
208(1)
Acting spaces
209(6)
Preparing for the space
215(6)
Sustaining thought through the breath
221(1)
Focusing the voice - focus points
222(1)
Stage movement
223(4)
To sum up
227(1)
Overview of the Acting Givens
227(2)
Part Four Integrating Voice in Rehearsal and Performance - Putting It All Together
229(64)
Introduction and How to Work
229(1)
16 Meeting the Play and the Character
230(12)
First meeting with the play
231(4)
Meeting the character
235(1)
Meeting the scene
236(6)
17 From Impulse to Action
242(21)
Active analysis
242(16)
Character voice
258(3)
The space
261(2)
18 From Action to Form
263(30)
Rhythm - the flow of meaning
264(6)
Accent and intonation - making the point
270(2)
Figures of speech - rhetorical colour
272(3)
Words and sounds
275(5)
Warm-ups and Integration of Process
280(13)
Conclusion 293(1)
Glossary 294(3)
Bibliography 297(3)
Permissions 300(1)
About the Authors 301(1)
Index 302
John Gillett is the author of Acting on Impulse - Reclaiming the Stanislavski Approach (Methuen Drama, 2007); the second extended edition, Acting Stanislavski - A practical guide to Stanislavski's approach and legacy (Bloomsbury, 2014); and co-author with Christina Gutekunst of Voice into Acting - Integrating voice and the Stanislavski approach (Bloomsbury 2014, and now in a second edition, 2021). He has also written articles on acting and the preface for a new edition of Stanislavski's Creating a Role (Bloomsbury Revelations, 2013). John trained as an actor in the approach of Stanislavski and Michael Chekhov and has worked widely in theatre, radio, film and television. He has taught and directed in many drama schools, including RADA, LAMDA, CSSD, and GSA, and was Head of the Post Graduate Acting Course at East 15. John has run acting workshops here and aboad, is a member of Equity and has had a prominent role in the writing of recent arts policy documents for Equity and the Creative and Leisure Industries Committee of the TUC (2019).

Christina Gutekunst has been Head of Voice at East 15 Acting School since 2003. Apart from co-writing Voice into Acting, she contributed a chapter, Organic Voice: Vocal Integration through Actor Training in Somatic Voices in Performance Research and Beyond (edited by Christina Kapadocha, 2020).

Christina trained as an actor in Germany and Britain, and then gained her Post Graduate diploma and MA in voice studies at the Royal Central School of Speech and Drama. She has taught voice in numerous acting schools, has worked on voice-overs as actor and director and co-ran two theatre companies. She has also coached on productions for TV and theatre.