Log In to My PreK-12 Platform
Acting One/Acting Two, 5th Edition
Format Options:
-
Lowest Price!
eBook from $54.00 -
Print from $166.64
McGraw Hill eBook (180 Days Access)
Hardcopy
Complete text bound in hardcover or softcover
Shipping Options
- Standard
- Next-day air
- 2nd-day air
Orders within the United States are shipped via FedEx or UPS Ground. For shipments to locations outside of the U.S., only standard shipping is available. All shipping options assume the product is available and that processing an order takes 24 to 48 hours prior to shipping.
* The estimated amount of time this product will be on the market is based on a number of factors, including faculty input to instructional design and the prior revision cycle and updates to academic research-which typically results in a revision cycle ranging from every two to four years for this product. Pricing subject to change at any time.
Instructor Information
Quick Actions (Only for Validated Instructor Accounts):
The new, fifth edition of Robert Cohen's Acting One, the text used to teach acting on more campuses than any other, has now been combined for the first time with his Acting Two, (the second edition of his previously-titled Advanced Acting). Together, Acting One/Acting Two provides a comprehensive and fully integrated system of all acting, from the most realistic to the most stylized. Part One (Acting One) covers basic skills such as talking, listening, tactical interplay, physicalizing, building scenes, and making powerful acting choices. Part Two (Acting Two) provides a series of exercises that encourage the student actor's self-extension into radically different styles (historical, literary, fantastical) and characterizations; then coaches the student through scenework in a variety of historical periods (Greek, Commedia, Elizabethan, Molière, Restoration, Belle Epoque), as well as modern hyper-realistic theatrical forms such as the theatres of alienation and the absurd, and exemplary recent dramas by Tony Kushner, Margaret Edson, August Wilson and Doug Wright.
Preface
ACTING ONE
Introduction
PART I. PREPARATION FOR ACTING
Lesson 1: Preparing to Act
Relaxation / Exercise 1-1 Relaxation / Trust / Exercise 1-2 Spine Lengthening / Exuberance / Exercise 1-3 BAM-POW, Dance, Sing / Discipline / Criticism / A Playful Attitude / Freedom / Preparation
Lesson 2: What Is Acting?
Exercise 2-1 Pledge Your Allegiance to a Flag
PART II. THE ACTOR'S APPROACH
Lesson 3: Goal and Obstacle
Fundamental Principle / Exercise 3-1 Reaching / Exercise 3-2 Reaching for Goals / Exercise 3-3 Overcoming an Obstacle / Self-Consciousness / Exercise 3-4 Doing vs. Being / Projection / Exercise 3-5 Resonating / Exercise 3-6 Resonating (A Continuation) / Exercise 3-7 Goals
Lesson 4: Acting with the 'Other'
The Other / Exercise 4-1 Making Your Partner Smile / Interactive Dynamics / Exercise 4-2 Vulnerability / Exercise 4-3 Discovery / The Character / Tactics / Exercise 4-4 Using Tactics / Exercise 4-5 One Two Three Four Five Six Seven / Monologues / Exercise 4-6 Inventing the Other
Lesson 5: Beginning to Act
Contentless Scene / Exercise 5-1 Contentless Scene I / Intensifiers / Exercise 5-2 Intensifying / Physicalizers / Exercise 5-3 Varying Locale or Action / Exercise 5-4 Contentless Scene II
Lesson 6: Tactics
Punishment and Reward / Playing Tactics / Exercise 6-1 Frighten Your Partner / Exercise 6-2 Building Intensity / Exercise 6-3 Try to Make Your Partner Cry / Exercise 6-4 Movement and Contact / Exercise 6-5 Encourage Your Partner / Alternating Tactics / Exercise 6-6 Mixing Tactics / The Middle Ranges / Exercise 6-7 Eliminating the Extremes
Lesson 7: Expectations
Expecting Victory / Exercise 7-1 Playing Bored / Positive Goals / Exercise 7-2 Enthusiasm / Exercise 7-3 Try the Impossible / Eye Contact / Exercise 7-4 Tactics and Expectations
Lesson 8: GOTE
A Basic Method / "Get Your Character's GOTE" / Exercise 8-1 The GOTEsheet
PART III. THE ACTOR'S TASK
Lesson 9: Preparing a Role
Finding Your Role / Finding Your "Character" / Editing a Scene / Memorization Methods / Cues / Studying the Part / Exercise 9-1 The Gentleman Caller I
Lesson 10: Rehearsing
Rehearsals / Undirected Rehearsals / Rehearsal Alternatives / Exercise 10-1 The Gentleman Caller II
Lesson 11: Staging the Scene
Stage Directions / Creating the Locale / Movement and Stage Business / Interesting Positions / Reaching the Audience / Exercise 11-1 Setting the Stage
Lesson 12: Choices
The Need for Choices / Good Choices / Exercise 12-1 Bold Choices
Lesson 13: Performing
Stage Fright / Classroom Performance / Play for Results--In the Other Character!
Lesson 14: Evaluation and Improvement
Helpful Criticism / Reworking / Exercise 14-1 Scene Presentation
PART IV. THE ACTOR'S INSTRUMENT
Lesson 15: The Actor's Voice
Breathing / Exercise 15-1 Breathing from the Abdomen / Phonation: Making Sounds / Exercise 15-2 Sounding / Resonance / Exercise 15-3 Exploring Resonance / Pitch / Exercise 15-4 Exploring Your Pitch Range / A Stageworthy Voice / Exercise 15-5 Speaking with Resonance
Lesson 16: Stage Speech
Good Diction / Speech Sounds / Exercise 16-1 Vowels / Exercise 16-2 Repeating Syllables / Exercise 16-3 Consonants / Exercise 16-4 Speeches
Lesson 17: Using Your Voice
Liberation / Exercise 17-1 Rude Chants / Exercise 17-2 Rude Cheering / Exercise 17-3 Fancy Talk / Exercise 17-4 Address a Group / Purposefulness / Exercise 17-5 Adding Purpose
Lesson 18: The Actor's Body
Agility / Exercise 18-1 Fast Warm-Up / Alignment / Exercise 18-2 Improving Alignment / Walking / Exercise 18-3 Sixteen Walks / Exercise 18-4 Walk and Talk / Sitting and Standing / Exercise 18-5 Walk, Talk, Sit / Velocity: Accelerating, Decelerating, and Constant / Exercise 18-6 Acceleration/Deceleration / Counterpoise / Exercise 18-7 Contraposto / Exercise 18-8 Contraction/Extension / The Dynamics of Effort / Exercise 18-9 Distinct Movements / Exercise 18-10 To Be or Not to Be / Exercise 18-11 Walking and Kicking
Lesson 19: Voice and Body Integration
Coordination / Exercise 19-1 Commands / Exercise 19-2 Speeches with Business / Exercise 19-3 Physical Punctuation / Exercise 19-4 Physical Rhythms / Exercise 19-5 Verbal Rhythms / Pointing / Exercise 19-6 Pointing / Tempo / Exercise 19-7 Speech/Movement Timing / Actors with Disabilities
Lesson 20: Imagination and Creativity
Imagination / Creativity / Creativity and Imagination / Using Your Fantasies / Exercise 20-1 Cold/Hot / Exercise 20-2 Age Regression/Advancement / Exercise 20-3 Facing an Imagined Death / Exercise 20-4 Facing Love /
Lesson 21: Emotion and Acting Theory
Exercise 21-1 Playing (with) Real Emotion I / Self-Consciousness / Exercise 21-2 Playing (with) Real Emotion II / Conclusion
PART V. THE ACTOR'S TECHNIQUE
Lesson 22: Phrasing
Diction / Open-Mouthed Speaking / Exercise 22-1 A Acting with Your Teeth / Exercise 22-1 B / Exercise 22-1 C / Developing Diction / Exercise 22-2 Repeated Sentences / Exercise 22-3 Shaw Speech / Emphasis / Exercise 22-4 Change of Emphasis / Exercise 22-5 Punctuate with Emphasis / Inflection / Exercise 22-6 Inflections / Phrasing
Lesson 23: Attack
The First Word / Physical Attack / Turn-Taking / Exercise 23-1 Turn-Taking Dialog / Preparing Strong Attacks / Exercise 23-2 Action Cues
Lesson 24: Follow-Through
The Hook / Questions as Questions / Statements as Questions / Exercise
24-1 Making Questions / Statements as Statements / Exercise 24-2 Argument-Enders / Trail-offs
Lesson 25: Line Linkage
Analyzing Dialog / Rising End-Inflections / Falling End-Inflections / Attack Inflections / Pauses / Long Speeches / Exercise 25-1 Line Linking / Exercise 25-2 The Long Speech / Line Linking in Practice
Lesson 26: Scene Structure
Breaking Down a Script / Choosing a Scene to Do in Class / Structural Characteristics / Transitions / Scene Breakdown / Exercise 26-1 Scene Structure in Action
Lesson 27: Building a Scene
Building and Topping / Exercise 27-1 Standard Build I / Exercise 27-2 Standard Build II / Exercise 27-3 Standard Build III / Cutting Back / Getting on Top / Pacing a Build / Complex Builds / Exercise 27-4 I Detest Monday / Exercise 27-5 I Detest January / Exercise 27-6 Come Here / Exercise 27-7 Building Molière
Lesson 28: Creating a Monologue
Going It Alone / The Monologue to Someone Else / The Soliloquy / Playing a Monologue or Soliloquy / Exercise 28-1 Prepare a Monologue /
L'Envoi
ACTING TWO
Introduction
Terminology: Style, Character, and performance / Acting Two's Structure / A Word About Gender /
Part I. Extensions of Yourself
Lesson 1: Style
Exercise 1-1 Baby Talk / Exercise 1-2 Baby Moves / Lesson 2: Stylized Exchanges
Exercise 2-1 Pig Latin / Exercise 2-2 Speaking in (Foreign) Tongues / Exercise 2-3 Contemporary Greetings / Exercise 2-4 Making Elizabethan Greetings / Exercise 2-5 Ad-Libbing Elizabethan Greetings / Exercise 2-6 Ad-Libbing Elizabethan Insults / Exercise 2-7 Hamlet's Greeting to the Players
Lesson 3: Roses Are Red
Rhyme and Verse / Exercise 3-1 Roses Are Red / Exercise 3-2 Roses Are Redder--Take One / Eye Contact--And Looking Elsewhere / Exercise 3-3 Roses Are Redder--Take Two / Exercise 3-4 Roses Are Redder--Take Three / Thinking Your Character's Thoughts / Exercise 3-5 Roses Are Redder--Take Four / Playing the Play
Lesson 4: Playing God
Exercise 4-1 Playing God / Playing a Character
Lesson 5: Characterization
Exercise 5-1 Reciprocal Characterization: Richard and Hastings / Exercise 5-2 Intrinsic Characterization: Richard and Hastings / Intrinsic Characterizations: Extensions and Stereotypes / Centering / Exercise 5-3 Centering / Character Postures and Walks / Exercise 5-4 Character Walks / Character Voices / Exercise 5-5 Finding Your Voices / Character Descriptions / Exercise 5-6 Playing Out Character Descriptions / Animal Imagery / Exercise 5-7 Animate (Animalize) Your Character / Intrinsic and Reciprocal Characterization / Exercise 5-8 Character Greetings
Lesson 6: More God
Exercise 6-1 A Stanza, by God
Lesson 7: The Battle of the Sexes: Noah and His Wife
Scene 7-1 Noah and His Wife
Lesson 8: Performance: Being Public in Private
Exercise 8-1 A Performative God / Performative Aspects of Dramatic Scenes / Exercise 8-2 Performing Your Greetings and Insults / The Audience in the Theatre / Scene 8-3 The Performative Context: Oedipus and Creon / Exercise 8-4 The Performative Context: Shakespeare / Exercise 8-5 the Performative Context: Chekhov
Part II. The Scenes
Lesson 9: Greek Tragedy
Scene 9-1 Politician vs. Prophet: Oedipus and Teiresias / More Greek Scenes /
Lesson 10: The Commedia
Commedia Styles and Scripts / Commedia Performances / Commedia and Renaissance Ideals / Acting Commedia: Machiavelli's Clizia / Exercise 10-1 Commedia: Direct Address / Commedia Lazzi / Scene 10-1 Nicomaco and Sofronia / Stock Characters / More Commedia Scenes
Lesson 11: Shakespeare and the Elizabethan Theatre
Scene 11-1 The Past Made Vivid: Richard and Ann / Scansion / Verse Variations / Playing the Verse / Rhetoric / Playing and Building the Rhetoric / The Public Environment / Scene 11-2 A Merry War: Beatrice and Benedick / Shakespeare and Commedia / More Elizabethan Scenes
Lesson 12: The Theatre of Molière
Scene 12-1 Physical Comedy / Jourdain and the Philosopher / Molière and Commedia / Costume and Deportment / French Verse / Scene 12-2 Quarreling in Couplets: Alceste and Celimène /
Lesson 13: Restoration Comedy
Exercise 13-1 Restoration Speeches / Scene 13-1 Sexual Banter/
Lesson 14: The Belle Epoque
George Bernard Shaw / Exercise 14-1 Shaw's Political Speeches /
Anton Chekhov / Scene 14-1 Chekhov's Symphony of Feeling
Oscar Wilde / Scene 14-2 Wilde's Comedy of (Male) Manners / Exercise 14-3 Wilde's Comedy of (Female) Manners
Lesson 15: The Hypertheatre
Eugene Ionesco: Theater of the Absurd / Exercise 15-1 Theatre of Absurd: Mr. and Mrs. Martin
Bertolt Brecht: Theater of Distancing / Scene 15-2 Distancing in Szechuan / Verfremdung in Everyday Life
Lesson 16: Contemporary Styles
Clashing Cultures / 16-1 Prior and Harper / Clashing Subcultures / 16-2 Boy Willie and Grace / Clashing Professions / 16-3 Vivian and Jason / Solo performer, Multiple Roles
L'Envoi
A Glossary of Acting Terms
Index
Introduction
PART I. PREPARATION FOR ACTING
Lesson 1: Preparing to Act
Relaxation / Exercise 1-1 Relaxation / Trust / Exercise 1-2 Spine Lengthening / Exuberance / Exercise 1-3 BAM-POW, Dance, Sing / Discipline / Criticism / A Playful Attitude / Freedom / Preparation
Lesson 2: What Is Acting?
Exercise 2-1 Pledge Your Allegiance to a Flag
PART II. THE ACTOR'S APPROACH
Lesson 3: Goal and Obstacle
Fundamental Principle / Exercise 3-1 Reaching / Exercise 3-2 Reaching for Goals / Exercise 3-3 Overcoming an Obstacle / Self-Consciousness / Exercise 3-4 Doing vs. Being / Projection / Exercise 3-5 Resonating / Exercise 3-6 Resonating (A Continuation) / Exercise 3-7 Goals
Lesson 4: Acting with the 'Other'
The Other / Exercise 4-1 Making Your Partner Smile / Interactive Dynamics / Exercise 4-2 Vulnerability / Exercise 4-3 Discovery / The Character / Tactics / Exercise 4-4 Using Tactics / Exercise 4-5 One Two Three Four Five Six Seven / Monologues / Exercise 4-6 Inventing the Other
Lesson 5: Beginning to Act
Contentless Scene / Exercise 5-1 Contentless Scene I / Intensifiers / Exercise 5-2 Intensifying / Physicalizers / Exercise 5-3 Varying Locale or Action / Exercise 5-4 Contentless Scene II
Lesson 6: Tactics
Punishment and Reward / Playing Tactics / Exercise 6-1 Frighten Your Partner / Exercise 6-2 Building Intensity / Exercise 6-3 Try to Make Your Partner Cry / Exercise 6-4 Movement and Contact / Exercise 6-5 Encourage Your Partner / Alternating Tactics / Exercise 6-6 Mixing Tactics / The Middle Ranges / Exercise 6-7 Eliminating the Extremes
Lesson 7: Expectations
Expecting Victory / Exercise 7-1 Playing Bored / Positive Goals / Exercise 7-2 Enthusiasm / Exercise 7-3 Try the Impossible / Eye Contact / Exercise 7-4 Tactics and Expectations
Lesson 8: GOTE
A Basic Method / "Get Your Character's GOTE" / Exercise 8-1 The GOTEsheet
PART III. THE ACTOR'S TASK
Lesson 9: Preparing a Role
Finding Your Role / Finding Your "Character" / Editing a Scene / Memorization Methods / Cues / Studying the Part / Exercise 9-1 The Gentleman Caller I
Lesson 10: Rehearsing
Rehearsals / Undirected Rehearsals / Rehearsal Alternatives / Exercise 10-1 The Gentleman Caller II
Lesson 11: Staging the Scene
Stage Directions / Creating the Locale / Movement and Stage Business / Interesting Positions / Reaching the Audience / Exercise 11-1 Setting the Stage
Lesson 12: Choices
The Need for Choices / Good Choices / Exercise 12-1 Bold Choices
Lesson 13: Performing
Stage Fright / Classroom Performance / Play for Results--In the Other Character!
Lesson 14: Evaluation and Improvement
Helpful Criticism / Reworking / Exercise 14-1 Scene Presentation
PART IV. THE ACTOR'S INSTRUMENT
Lesson 15: The Actor's Voice
Breathing / Exercise 15-1 Breathing from the Abdomen / Phonation: Making Sounds / Exercise 15-2 Sounding / Resonance / Exercise 15-3 Exploring Resonance / Pitch / Exercise 15-4 Exploring Your Pitch Range / A Stageworthy Voice / Exercise 15-5 Speaking with Resonance
Lesson 16: Stage Speech
Good Diction / Speech Sounds / Exercise 16-1 Vowels / Exercise 16-2 Repeating Syllables / Exercise 16-3 Consonants / Exercise 16-4 Speeches
Lesson 17: Using Your Voice
Liberation / Exercise 17-1 Rude Chants / Exercise 17-2 Rude Cheering / Exercise 17-3 Fancy Talk / Exercise 17-4 Address a Group / Purposefulness / Exercise 17-5 Adding Purpose
Lesson 18: The Actor's Body
Agility / Exercise 18-1 Fast Warm-Up / Alignment / Exercise 18-2 Improving Alignment / Walking / Exercise 18-3 Sixteen Walks / Exercise 18-4 Walk and Talk / Sitting and Standing / Exercise 18-5 Walk, Talk, Sit / Velocity: Accelerating, Decelerating, and Constant / Exercise 18-6 Acceleration/Deceleration / Counterpoise / Exercise 18-7 Contraposto / Exercise 18-8 Contraction/Extension / The Dynamics of Effort / Exercise 18-9 Distinct Movements / Exercise 18-10 To Be or Not to Be / Exercise 18-11 Walking and Kicking
Lesson 19: Voice and Body Integration
Coordination / Exercise 19-1 Commands / Exercise 19-2 Speeches with Business / Exercise 19-3 Physical Punctuation / Exercise 19-4 Physical Rhythms / Exercise 19-5 Verbal Rhythms / Pointing / Exercise 19-6 Pointing / Tempo / Exercise 19-7 Speech/Movement Timing / Actors with Disabilities
Lesson 20: Imagination and Creativity
Imagination / Creativity / Creativity and Imagination / Using Your Fantasies / Exercise 20-1 Cold/Hot / Exercise 20-2 Age Regression/Advancement / Exercise 20-3 Facing an Imagined Death / Exercise 20-4 Facing Love /
Lesson 21: Emotion and Acting Theory
Exercise 21-1 Playing (with) Real Emotion I / Self-Consciousness / Exercise 21-2 Playing (with) Real Emotion II / Conclusion
PART V. THE ACTOR'S TECHNIQUE
Lesson 22: Phrasing
Diction / Open-Mouthed Speaking / Exercise 22-1 A Acting with Your Teeth / Exercise 22-1 B / Exercise 22-1 C / Developing Diction / Exercise 22-2 Repeated Sentences / Exercise 22-3 Shaw Speech / Emphasis / Exercise 22-4 Change of Emphasis / Exercise 22-5 Punctuate with Emphasis / Inflection / Exercise 22-6 Inflections / Phrasing
Lesson 23: Attack
The First Word / Physical Attack / Turn-Taking / Exercise 23-1 Turn-Taking Dialog / Preparing Strong Attacks / Exercise 23-2 Action Cues
Lesson 24: Follow-Through
The Hook / Questions as Questions / Statements as Questions / Exercise
24-1 Making Questions / Statements as Statements / Exercise 24-2 Argument-Enders / Trail-offs
Lesson 25: Line Linkage
Analyzing Dialog / Rising End-Inflections / Falling End-Inflections / Attack Inflections / Pauses / Long Speeches / Exercise 25-1 Line Linking / Exercise 25-2 The Long Speech / Line Linking in Practice
Lesson 26: Scene Structure
Breaking Down a Script / Choosing a Scene to Do in Class / Structural Characteristics / Transitions / Scene Breakdown / Exercise 26-1 Scene Structure in Action
Lesson 27: Building a Scene
Building and Topping / Exercise 27-1 Standard Build I / Exercise 27-2 Standard Build II / Exercise 27-3 Standard Build III / Cutting Back / Getting on Top / Pacing a Build / Complex Builds / Exercise 27-4 I Detest Monday / Exercise 27-5 I Detest January / Exercise 27-6 Come Here / Exercise 27-7 Building Molière
Lesson 28: Creating a Monologue
Going It Alone / The Monologue to Someone Else / The Soliloquy / Playing a Monologue or Soliloquy / Exercise 28-1 Prepare a Monologue /
L'Envoi
ACTING TWO
Introduction
Terminology: Style, Character, and performance / Acting Two's Structure / A Word About Gender /
Part I. Extensions of Yourself
Lesson 1: Style
Exercise 1-1 Baby Talk / Exercise 1-2 Baby Moves / Lesson 2: Stylized Exchanges
Exercise 2-1 Pig Latin / Exercise 2-2 Speaking in (Foreign) Tongues / Exercise 2-3 Contemporary Greetings / Exercise 2-4 Making Elizabethan Greetings / Exercise 2-5 Ad-Libbing Elizabethan Greetings / Exercise 2-6 Ad-Libbing Elizabethan Insults / Exercise 2-7 Hamlet's Greeting to the Players
Lesson 3: Roses Are Red
Rhyme and Verse / Exercise 3-1 Roses Are Red / Exercise 3-2 Roses Are Redder--Take One / Eye Contact--And Looking Elsewhere / Exercise 3-3 Roses Are Redder--Take Two / Exercise 3-4 Roses Are Redder--Take Three / Thinking Your Character's Thoughts / Exercise 3-5 Roses Are Redder--Take Four / Playing the Play
Lesson 4: Playing God
Exercise 4-1 Playing God / Playing a Character
Lesson 5: Characterization
Exercise 5-1 Reciprocal Characterization: Richard and Hastings / Exercise 5-2 Intrinsic Characterization: Richard and Hastings / Intrinsic Characterizations: Extensions and Stereotypes / Centering / Exercise 5-3 Centering / Character Postures and Walks / Exercise 5-4 Character Walks / Character Voices / Exercise 5-5 Finding Your Voices / Character Descriptions / Exercise 5-6 Playing Out Character Descriptions / Animal Imagery / Exercise 5-7 Animate (Animalize) Your Character / Intrinsic and Reciprocal Characterization / Exercise 5-8 Character Greetings
Lesson 6: More God
Exercise 6-1 A Stanza, by God
Lesson 7: The Battle of the Sexes: Noah and His Wife
Scene 7-1 Noah and His Wife
Lesson 8: Performance: Being Public in Private
Exercise 8-1 A Performative God / Performative Aspects of Dramatic Scenes / Exercise 8-2 Performing Your Greetings and Insults / The Audience in the Theatre / Scene 8-3 The Performative Context: Oedipus and Creon / Exercise 8-4 The Performative Context: Shakespeare / Exercise 8-5 the Performative Context: Chekhov
Part II. The Scenes
Lesson 9: Greek Tragedy
Scene 9-1 Politician vs. Prophet: Oedipus and Teiresias / More Greek Scenes /
Lesson 10: The Commedia
Commedia Styles and Scripts / Commedia Performances / Commedia and Renaissance Ideals / Acting Commedia: Machiavelli's Clizia / Exercise 10-1 Commedia: Direct Address / Commedia Lazzi / Scene 10-1 Nicomaco and Sofronia / Stock Characters / More Commedia Scenes
Lesson 11: Shakespeare and the Elizabethan Theatre
Scene 11-1 The Past Made Vivid: Richard and Ann / Scansion / Verse Variations / Playing the Verse / Rhetoric / Playing and Building the Rhetoric / The Public Environment / Scene 11-2 A Merry War: Beatrice and Benedick / Shakespeare and Commedia / More Elizabethan Scenes
Lesson 12: The Theatre of Molière
Scene 12-1 Physical Comedy / Jourdain and the Philosopher / Molière and Commedia / Costume and Deportment / French Verse / Scene 12-2 Quarreling in Couplets: Alceste and Celimène /
Lesson 13: Restoration Comedy
Exercise 13-1 Restoration Speeches / Scene 13-1 Sexual Banter/
Lesson 14: The Belle Epoque
George Bernard Shaw / Exercise 14-1 Shaw's Political Speeches /
Anton Chekhov / Scene 14-1 Chekhov's Symphony of Feeling
Oscar Wilde / Scene 14-2 Wilde's Comedy of (Male) Manners / Exercise 14-3 Wilde's Comedy of (Female) Manners
Lesson 15: The Hypertheatre
Eugene Ionesco: Theater of the Absurd / Exercise 15-1 Theatre of Absurd: Mr. and Mrs. Martin
Bertolt Brecht: Theater of Distancing / Scene 15-2 Distancing in Szechuan / Verfremdung in Everyday Life
Lesson 16: Contemporary Styles
Clashing Cultures / 16-1 Prior and Harper / Clashing Subcultures / 16-2 Boy Willie and Grace / Clashing Professions / 16-3 Vivian and Jason / Solo performer, Multiple Roles
L'Envoi
A Glossary of Acting Terms
Index
Lesson 1: Preparing to Act
Relaxation / Exercise 1-1 Relaxation / Trust / Exercise 1-2 Spine Lengthening / Exuberance / Exercise 1-3 BAM-POW, Dance, Sing / Discipline / Criticism / A Playful Attitude / Freedom / Preparation
Lesson 2: What Is Acting?
Exercise 2-1 Pledge Your Allegiance to a Flag
PART II. THE ACTOR'S APPROACH
Lesson 3: Goal and Obstacle
Fundamental Principle / Exercise 3-1 Reaching / Exercise 3-2 Reaching for Goals / Exercise 3-3 Overcoming an Obstacle / Self-Consciousness / Exercise 3-4 Doing vs. Being / Projection / Exercise 3-5 Resonating / Exercise 3-6 Resonating (A Continuation) / Exercise 3-7 Goals
Lesson 4: Acting with the 'Other'
The Other / Exercise 4-1 Making Your Partner Smile / Interactive Dynamics / Exercise 4-2 Vulnerability / Exercise 4-3 Discovery / The Character / Tactics / Exercise 4-4 Using Tactics / Exercise 4-5 One Two Three Four Five Six Seven / Monologues / Exercise 4-6 Inventing the Other
Lesson 5: Beginning to Act
Contentless Scene / Exercise 5-1 Contentless Scene I / Intensifiers / Exercise 5-2 Intensifying / Physicalizers / Exercise 5-3 Varying Locale or Action / Exercise 5-4 Contentless Scene II
Lesson 6: Tactics
Punishment and Reward / Playing Tactics / Exercise 6-1 Frighten Your Partner / Exercise 6-2 Building Intensity / Exercise 6-3 Try to Make Your Partner Cry / Exercise 6-4 Movement and Contact / Exercise 6-5 Encourage Your Partner / Alternating Tactics / Exercise 6-6 Mixing Tactics / The Middle Ranges / Exercise 6-7 Eliminating the Extremes
Lesson 7: Expectations
Expecting Victory / Exercise 7-1 Playing Bored / Positive Goals / Exercise 7-2 Enthusiasm / Exercise 7-3 Try the Impossible / Eye Contact / Exercise 7-4 Tactics and Expectations
Lesson 8: GOTE
A Basic Method / "Get Your Character's GOTE" / Exercise 8-1 The GOTEsheet
PART III. THE ACTOR'S TASK
Lesson 9: Preparing a Role
Finding Your Role / Finding Your "Character" / Editing a Scene / Memorization Methods / Cues / Studying the Part / Exercise 9-1 The Gentleman Caller I
Lesson 10: Rehearsing
Rehearsals / Undirected Rehearsals / Rehearsal Alternatives / Exercise 10-1 The Gentleman Caller II
Lesson 11: Staging the Scene
Stage Directions / Creating the Locale / Movement and Stage Business / Interesting Positions / Reaching the Audience / Exercise 11-1 Setting the Stage
Lesson 12: Choices
The Need for Choices / Good Choices / Exercise 12-1 Bold Choices
Lesson 13: Performing
Stage Fright / Classroom Performance / Play for Results--In the Other Character!
Lesson 14: Evaluation and Improvement
Helpful Criticism / Reworking / Exercise 14-1 Scene Presentation
PART IV. THE ACTOR'S INSTRUMENT
Lesson 15: The Actor's Voice
Breathing / Exercise 15-1 Breathing from the Abdomen / Phonation: Making Sounds / Exercise 15-2 Sounding / Resonance / Exercise 15-3 Exploring Resonance / Pitch / Exercise 15-4 Exploring Your Pitch Range / A Stageworthy Voice / Exercise 15-5 Speaking with Resonance
Lesson 16: Stage Speech
Good Diction / Speech Sounds / Exercise 16-1 Vowels / Exercise 16-2 Repeating Syllables / Exercise 16-3 Consonants / Exercise 16-4 Speeches
Lesson 17: Using Your Voice
Liberation / Exercise 17-1 Rude Chants / Exercise 17-2 Rude Cheering / Exercise 17-3 Fancy Talk / Exercise 17-4 Address a Group / Purposefulness / Exercise 17-5 Adding Purpose
Lesson 18: The Actor's Body
Agility / Exercise 18-1 Fast Warm-Up / Alignment / Exercise 18-2 Improving Alignment / Walking / Exercise 18-3 Sixteen Walks / Exercise 18-4 Walk and Talk / Sitting and Standing / Exercise 18-5 Walk, Talk, Sit / Velocity: Accelerating, Decelerating, and Constant / Exercise 18-6 Acceleration/Deceleration / Counterpoise / Exercise 18-7 Contraposto / Exercise 18-8 Contraction/Extension / The Dynamics of Effort / Exercise 18-9 Distinct Movements / Exercise 18-10 To Be or Not to Be / Exercise 18-11 Walking and Kicking
Lesson 19: Voice and Body Integration
Coordination / Exercise 19-1 Commands / Exercise 19-2 Speeches with Business / Exercise 19-3 Physical Punctuation / Exercise 19-4 Physical Rhythms / Exercise 19-5 Verbal Rhythms / Pointing / Exercise 19-6 Pointing / Tempo / Exercise 19-7 Speech/Movement Timing / Actors with Disabilities
Lesson 20: Imagination and Creativity
Imagination / Creativity / Creativity and Imagination / Using Your Fantasies / Exercise 20-1 Cold/Hot / Exercise 20-2 Age Regression/Advancement / Exercise 20-3 Facing an Imagined Death / Exercise 20-4 Facing Love /
Lesson 21: Emotion and Acting Theory
Exercise 21-1 Playing (with) Real Emotion I / Self-Consciousness / Exercise 21-2 Playing (with) Real Emotion II / Conclusion
PART V. THE ACTOR'S TECHNIQUE
Lesson 22: Phrasing
Diction / Open-Mouthed Speaking / Exercise 22-1 A Acting with Your Teeth / Exercise 22-1 B / Exercise 22-1 C / Developing Diction / Exercise 22-2 Repeated Sentences / Exercise 22-3 Shaw Speech / Emphasis / Exercise 22-4 Change of Emphasis / Exercise 22-5 Punctuate with Emphasis / Inflection / Exercise 22-6 Inflections / Phrasing
Lesson 23: Attack
The First Word / Physical Attack / Turn-Taking / Exercise 23-1 Turn-Taking Dialog / Preparing Strong Attacks / Exercise 23-2 Action Cues
Lesson 24: Follow-Through
The Hook / Questions as Questions / Statements as Questions / Exercise
24-1 Making Questions / Statements as Statements / Exercise 24-2 Argument-Enders / Trail-offs
Lesson 25: Line Linkage
Analyzing Dialog / Rising End-Inflections / Falling End-Inflections / Attack Inflections / Pauses / Long Speeches / Exercise 25-1 Line Linking / Exercise 25-2 The Long Speech / Line Linking in Practice
Lesson 26: Scene Structure
Breaking Down a Script / Choosing a Scene to Do in Class / Structural Characteristics / Transitions / Scene Breakdown / Exercise 26-1 Scene Structure in Action
Lesson 27: Building a Scene
Building and Topping / Exercise 27-1 Standard Build I / Exercise 27-2 Standard Build II / Exercise 27-3 Standard Build III / Cutting Back / Getting on Top / Pacing a Build / Complex Builds / Exercise 27-4 I Detest Monday / Exercise 27-5 I Detest January / Exercise 27-6 Come Here / Exercise 27-7 Building Molière
Lesson 28: Creating a Monologue
Going It Alone / The Monologue to Someone Else / The Soliloquy / Playing a Monologue or Soliloquy / Exercise 28-1 Prepare a Monologue /
L'Envoi
ACTING TWO
Introduction
Terminology: Style, Character, and performance / Acting Two's Structure / A Word About Gender /
Part I. Extensions of Yourself
Lesson 1: Style
Exercise 1-1 Baby Talk / Exercise 1-2 Baby Moves / Lesson 2: Stylized Exchanges
Exercise 2-1 Pig Latin / Exercise 2-2 Speaking in (Foreign) Tongues / Exercise 2-3 Contemporary Greetings / Exercise 2-4 Making Elizabethan Greetings / Exercise 2-5 Ad-Libbing Elizabethan Greetings / Exercise 2-6 Ad-Libbing Elizabethan Insults / Exercise 2-7 Hamlet's Greeting to the Players
Lesson 3: Roses Are Red
Rhyme and Verse / Exercise 3-1 Roses Are Red / Exercise 3-2 Roses Are Redder--Take One / Eye Contact--And Looking Elsewhere / Exercise 3-3 Roses Are Redder--Take Two / Exercise 3-4 Roses Are Redder--Take Three / Thinking Your Character's Thoughts / Exercise 3-5 Roses Are Redder--Take Four / Playing the Play
Lesson 4: Playing God
Exercise 4-1 Playing God / Playing a Character
Lesson 5: Characterization
Exercise 5-1 Reciprocal Characterization: Richard and Hastings / Exercise 5-2 Intrinsic Characterization: Richard and Hastings / Intrinsic Characterizations: Extensions and Stereotypes / Centering / Exercise 5-3 Centering / Character Postures and Walks / Exercise 5-4 Character Walks / Character Voices / Exercise 5-5 Finding Your Voices / Character Descriptions / Exercise 5-6 Playing Out Character Descriptions / Animal Imagery / Exercise 5-7 Animate (Animalize) Your Character / Intrinsic and Reciprocal Characterization / Exercise 5-8 Character Greetings
Lesson 6: More God
Exercise 6-1 A Stanza, by God
Lesson 7: The Battle of the Sexes: Noah and His Wife
Scene 7-1 Noah and His Wife
Lesson 8: Performance: Being Public in Private
Exercise 8-1 A Performative God / Performative Aspects of Dramatic Scenes / Exercise 8-2 Performing Your Greetings and Insults / The Audience in the Theatre / Scene 8-3 The Performative Context: Oedipus and Creon / Exercise 8-4 The Performative Context: Shakespeare / Exercise 8-5 the Performative Context: Chekhov
Part II. The Scenes
Lesson 9: Greek Tragedy
Scene 9-1 Politician vs. Prophet: Oedipus and Teiresias / More Greek Scenes /
Lesson 10: The Commedia
Commedia Styles and Scripts / Commedia Performances / Commedia and Renaissance Ideals / Acting Commedia: Machiavelli's Clizia / Exercise 10-1 Commedia: Direct Address / Commedia Lazzi / Scene 10-1 Nicomaco and Sofronia / Stock Characters / More Commedia Scenes
Lesson 11: Shakespeare and the Elizabethan Theatre
Scene 11-1 The Past Made Vivid: Richard and Ann / Scansion / Verse Variations / Playing the Verse / Rhetoric / Playing and Building the Rhetoric / The Public Environment / Scene 11-2 A Merry War: Beatrice and Benedick / Shakespeare and Commedia / More Elizabethan Scenes
Lesson 12: The Theatre of Molière
Scene 12-1 Physical Comedy / Jourdain and the Philosopher / Molière and Commedia / Costume and Deportment / French Verse / Scene 12-2 Quarreling in Couplets: Alceste and Celimène /
Lesson 13: Restoration Comedy
Exercise 13-1 Restoration Speeches / Scene 13-1 Sexual Banter/
Lesson 14: The Belle Epoque
George Bernard Shaw / Exercise 14-1 Shaw's Political Speeches /
Anton Chekhov / Scene 14-1 Chekhov's Symphony of Feeling
Oscar Wilde / Scene 14-2 Wilde's Comedy of (Male) Manners / Exercise 14-3 Wilde's Comedy of (Female) Manners
Lesson 15: The Hypertheatre
Eugene Ionesco: Theater of the Absurd / Exercise 15-1 Theatre of Absurd: Mr. and Mrs. Martin
Bertolt Brecht: Theater of Distancing / Scene 15-2 Distancing in Szechuan / Verfremdung in Everyday Life
Lesson 16: Contemporary Styles
Clashing Cultures / 16-1 Prior and Harper / Clashing Subcultures / 16-2 Boy Willie and Grace / Clashing Professions / 16-3 Vivian and Jason / Solo performer, Multiple Roles
L'Envoi
A Glossary of Acting Terms
Index
Lesson 2: What Is Acting?
Exercise 2-1 Pledge Your Allegiance to a Flag
PART II. THE ACTOR'S APPROACH
Lesson 3: Goal and Obstacle
Fundamental Principle / Exercise 3-1 Reaching / Exercise 3-2 Reaching for Goals / Exercise 3-3 Overcoming an Obstacle / Self-Consciousness / Exercise 3-4 Doing vs. Being / Projection / Exercise 3-5 Resonating / Exercise 3-6 Resonating (A Continuation) / Exercise 3-7 Goals
Lesson 4: Acting with the 'Other'
The Other / Exercise 4-1 Making Your Partner Smile / Interactive Dynamics / Exercise 4-2 Vulnerability / Exercise 4-3 Discovery / The Character / Tactics / Exercise 4-4 Using Tactics / Exercise 4-5 One Two Three Four Five Six Seven / Monologues / Exercise 4-6 Inventing the Other
Lesson 5: Beginning to Act
Contentless Scene / Exercise 5-1 Contentless Scene I / Intensifiers / Exercise 5-2 Intensifying / Physicalizers / Exercise 5-3 Varying Locale or Action / Exercise 5-4 Contentless Scene II
Lesson 6: Tactics
Punishment and Reward / Playing Tactics / Exercise 6-1 Frighten Your Partner / Exercise 6-2 Building Intensity / Exercise 6-3 Try to Make Your Partner Cry / Exercise 6-4 Movement and Contact / Exercise 6-5 Encourage Your Partner / Alternating Tactics / Exercise 6-6 Mixing Tactics / The Middle Ranges / Exercise 6-7 Eliminating the Extremes
Lesson 7: Expectations
Expecting Victory / Exercise 7-1 Playing Bored / Positive Goals / Exercise 7-2 Enthusiasm / Exercise 7-3 Try the Impossible / Eye Contact / Exercise 7-4 Tactics and Expectations
Lesson 8: GOTE
A Basic Method / "Get Your Character's GOTE" / Exercise 8-1 The GOTEsheet
PART III. THE ACTOR'S TASK
Lesson 9: Preparing a Role
Finding Your Role / Finding Your "Character" / Editing a Scene / Memorization Methods / Cues / Studying the Part / Exercise 9-1 The Gentleman Caller I
Lesson 10: Rehearsing
Rehearsals / Undirected Rehearsals / Rehearsal Alternatives / Exercise 10-1 The Gentleman Caller II
Lesson 11: Staging the Scene
Stage Directions / Creating the Locale / Movement and Stage Business / Interesting Positions / Reaching the Audience / Exercise 11-1 Setting the Stage
Lesson 12: Choices
The Need for Choices / Good Choices / Exercise 12-1 Bold Choices
Lesson 13: Performing
Stage Fright / Classroom Performance / Play for Results--In the Other Character!
Lesson 14: Evaluation and Improvement
Helpful Criticism / Reworking / Exercise 14-1 Scene Presentation
PART IV. THE ACTOR'S INSTRUMENT
Lesson 15: The Actor's Voice
Breathing / Exercise 15-1 Breathing from the Abdomen / Phonation: Making Sounds / Exercise 15-2 Sounding / Resonance / Exercise 15-3 Exploring Resonance / Pitch / Exercise 15-4 Exploring Your Pitch Range / A Stageworthy Voice / Exercise 15-5 Speaking with Resonance
Lesson 16: Stage Speech
Good Diction / Speech Sounds / Exercise 16-1 Vowels / Exercise 16-2 Repeating Syllables / Exercise 16-3 Consonants / Exercise 16-4 Speeches
Lesson 17: Using Your Voice
Liberation / Exercise 17-1 Rude Chants / Exercise 17-2 Rude Cheering / Exercise 17-3 Fancy Talk / Exercise 17-4 Address a Group / Purposefulness / Exercise 17-5 Adding Purpose
Lesson 18: The Actor's Body
Agility / Exercise 18-1 Fast Warm-Up / Alignment / Exercise 18-2 Improving Alignment / Walking / Exercise 18-3 Sixteen Walks / Exercise 18-4 Walk and Talk / Sitting and Standing / Exercise 18-5 Walk, Talk, Sit / Velocity: Accelerating, Decelerating, and Constant / Exercise 18-6 Acceleration/Deceleration / Counterpoise / Exercise 18-7 Contraposto / Exercise 18-8 Contraction/Extension / The Dynamics of Effort / Exercise 18-9 Distinct Movements / Exercise 18-10 To Be or Not to Be / Exercise 18-11 Walking and Kicking
Lesson 19: Voice and Body Integration
Coordination / Exercise 19-1 Commands / Exercise 19-2 Speeches with Business / Exercise 19-3 Physical Punctuation / Exercise 19-4 Physical Rhythms / Exercise 19-5 Verbal Rhythms / Pointing / Exercise 19-6 Pointing / Tempo / Exercise 19-7 Speech/Movement Timing / Actors with Disabilities
Lesson 20: Imagination and Creativity
Imagination / Creativity / Creativity and Imagination / Using Your Fantasies / Exercise 20-1 Cold/Hot / Exercise 20-2 Age Regression/Advancement / Exercise 20-3 Facing an Imagined Death / Exercise 20-4 Facing Love /
Lesson 21: Emotion and Acting Theory
Exercise 21-1 Playing (with) Real Emotion I / Self-Consciousness / Exercise 21-2 Playing (with) Real Emotion II / Conclusion
PART V. THE ACTOR'S TECHNIQUE
Lesson 22: Phrasing
Diction / Open-Mouthed Speaking / Exercise 22-1 A Acting with Your Teeth / Exercise 22-1 B / Exercise 22-1 C / Developing Diction / Exercise 22-2 Repeated Sentences / Exercise 22-3 Shaw Speech / Emphasis / Exercise 22-4 Change of Emphasis / Exercise 22-5 Punctuate with Emphasis / Inflection / Exercise 22-6 Inflections / Phrasing
Lesson 23: Attack
The First Word / Physical Attack / Turn-Taking / Exercise 23-1 Turn-Taking Dialog / Preparing Strong Attacks / Exercise 23-2 Action Cues
Lesson 24: Follow-Through
The Hook / Questions as Questions / Statements as Questions / Exercise
24-1 Making Questions / Statements as Statements / Exercise 24-2 Argument-Enders / Trail-offs
Lesson 25: Line Linkage
Analyzing Dialog / Rising End-Inflections / Falling End-Inflections / Attack Inflections / Pauses / Long Speeches / Exercise 25-1 Line Linking / Exercise 25-2 The Long Speech / Line Linking in Practice
Lesson 26: Scene Structure
Breaking Down a Script / Choosing a Scene to Do in Class / Structural Characteristics / Transitions / Scene Breakdown / Exercise 26-1 Scene Structure in Action
Lesson 27: Building a Scene
Building and Topping / Exercise 27-1 Standard Build I / Exercise 27-2 Standard Build II / Exercise 27-3 Standard Build III / Cutting Back / Getting on Top / Pacing a Build / Complex Builds / Exercise 27-4 I Detest Monday / Exercise 27-5 I Detest January / Exercise 27-6 Come Here / Exercise 27-7 Building Molière
Lesson 28: Creating a Monologue
Going It Alone / The Monologue to Someone Else / The Soliloquy / Playing a Monologue or Soliloquy / Exercise 28-1 Prepare a Monologue /
L'Envoi
ACTING TWO
Introduction
Terminology: Style, Character, and performance / Acting Two's Structure / A Word About Gender /
Part I. Extensions of Yourself
Lesson 1: Style
Exercise 1-1 Baby Talk / Exercise 1-2 Baby Moves / Lesson 2: Stylized Exchanges
Exercise 2-1 Pig Latin / Exercise 2-2 Speaking in (Foreign) Tongues / Exercise 2-3 Contemporary Greetings / Exercise 2-4 Making Elizabethan Greetings / Exercise 2-5 Ad-Libbing Elizabethan Greetings / Exercise 2-6 Ad-Libbing Elizabethan Insults / Exercise 2-7 Hamlet's Greeting to the Players
Lesson 3: Roses Are Red
Rhyme and Verse / Exercise 3-1 Roses Are Red / Exercise 3-2 Roses Are Redder--Take One / Eye Contact--And Looking Elsewhere / Exercise 3-3 Roses Are Redder--Take Two / Exercise 3-4 Roses Are Redder--Take Three / Thinking Your Character's Thoughts / Exercise 3-5 Roses Are Redder--Take Four / Playing the Play
Lesson 4: Playing God
Exercise 4-1 Playing God / Playing a Character
Lesson 5: Characterization
Exercise 5-1 Reciprocal Characterization: Richard and Hastings / Exercise 5-2 Intrinsic Characterization: Richard and Hastings / Intrinsic Characterizations: Extensions and Stereotypes / Centering / Exercise 5-3 Centering / Character Postures and Walks / Exercise 5-4 Character Walks / Character Voices / Exercise 5-5 Finding Your Voices / Character Descriptions / Exercise 5-6 Playing Out Character Descriptions / Animal Imagery / Exercise 5-7 Animate (Animalize) Your Character / Intrinsic and Reciprocal Characterization / Exercise 5-8 Character Greetings
Lesson 6: More God
Exercise 6-1 A Stanza, by God
Lesson 7: The Battle of the Sexes: Noah and His Wife
Scene 7-1 Noah and His Wife
Lesson 8: Performance: Being Public in Private
Exercise 8-1 A Performative God / Performative Aspects of Dramatic Scenes / Exercise 8-2 Performing Your Greetings and Insults / The Audience in the Theatre / Scene 8-3 The Performative Context: Oedipus and Creon / Exercise 8-4 The Performative Context: Shakespeare / Exercise 8-5 the Performative Context: Chekhov
Part II. The Scenes
Lesson 9: Greek Tragedy
Scene 9-1 Politician vs. Prophet: Oedipus and Teiresias / More Greek Scenes /
Lesson 10: The Commedia
Commedia Styles and Scripts / Commedia Performances / Commedia and Renaissance Ideals / Acting Commedia: Machiavelli's Clizia / Exercise 10-1 Commedia: Direct Address / Commedia Lazzi / Scene 10-1 Nicomaco and Sofronia / Stock Characters / More Commedia Scenes
Lesson 11: Shakespeare and the Elizabethan Theatre
Scene 11-1 The Past Made Vivid: Richard and Ann / Scansion / Verse Variations / Playing the Verse / Rhetoric / Playing and Building the Rhetoric / The Public Environment / Scene 11-2 A Merry War: Beatrice and Benedick / Shakespeare and Commedia / More Elizabethan Scenes
Lesson 12: The Theatre of Molière
Scene 12-1 Physical Comedy / Jourdain and the Philosopher / Molière and Commedia / Costume and Deportment / French Verse / Scene 12-2 Quarreling in Couplets: Alceste and Celimène /
Lesson 13: Restoration Comedy
Exercise 13-1 Restoration Speeches / Scene 13-1 Sexual Banter/
Lesson 14: The Belle Epoque
George Bernard Shaw / Exercise 14-1 Shaw's Political Speeches /
Anton Chekhov / Scene 14-1 Chekhov's Symphony of Feeling
Oscar Wilde / Scene 14-2 Wilde's Comedy of (Male) Manners / Exercise 14-3 Wilde's Comedy of (Female) Manners
Lesson 15: The Hypertheatre
Eugene Ionesco: Theater of the Absurd / Exercise 15-1 Theatre of Absurd: Mr. and Mrs. Martin
Bertolt Brecht: Theater of Distancing / Scene 15-2 Distancing in Szechuan / Verfremdung in Everyday Life
Lesson 16: Contemporary Styles
Clashing Cultures / 16-1 Prior and Harper / Clashing Subcultures / 16-2 Boy Willie and Grace / Clashing Professions / 16-3 Vivian and Jason / Solo performer, Multiple Roles
L'Envoi
A Glossary of Acting Terms
Index
PART II. THE ACTOR'S APPROACH
Lesson 3: Goal and Obstacle
Fundamental Principle / Exercise 3-1 Reaching / Exercise 3-2 Reaching for Goals / Exercise 3-3 Overcoming an Obstacle / Self-Consciousness / Exercise 3-4 Doing vs. Being / Projection / Exercise 3-5 Resonating / Exercise 3-6 Resonating (A Continuation) / Exercise 3-7 Goals
Lesson 4: Acting with the 'Other'
The Other / Exercise 4-1 Making Your Partner Smile / Interactive Dynamics / Exercise 4-2 Vulnerability / Exercise 4-3 Discovery / The Character / Tactics / Exercise 4-4 Using Tactics / Exercise 4-5 One Two Three Four Five Six Seven / Monologues / Exercise 4-6 Inventing the Other
Lesson 5: Beginning to Act
Contentless Scene / Exercise 5-1 Contentless Scene I / Intensifiers / Exercise 5-2 Intensifying / Physicalizers / Exercise 5-3 Varying Locale or Action / Exercise 5-4 Contentless Scene II
Lesson 6: Tactics
Punishment and Reward / Playing Tactics / Exercise 6-1 Frighten Your Partner / Exercise 6-2 Building Intensity / Exercise 6-3 Try to Make Your Partner Cry / Exercise 6-4 Movement and Contact / Exercise 6-5 Encourage Your Partner / Alternating Tactics / Exercise 6-6 Mixing Tactics / The Middle Ranges / Exercise 6-7 Eliminating the Extremes
Lesson 7: Expectations
Expecting Victory / Exercise 7-1 Playing Bored / Positive Goals / Exercise 7-2 Enthusiasm / Exercise 7-3 Try the Impossible / Eye Contact / Exercise 7-4 Tactics and Expectations
Lesson 8: GOTE
A Basic Method / "Get Your Character's GOTE" / Exercise 8-1 The GOTEsheet
PART III. THE ACTOR'S TASK
Lesson 9: Preparing a Role
Finding Your Role / Finding Your "Character" / Editing a Scene / Memorization Methods / Cues / Studying the Part / Exercise 9-1 The Gentleman Caller I
Lesson 10: Rehearsing
Rehearsals / Undirected Rehearsals / Rehearsal Alternatives / Exercise 10-1 The Gentleman Caller II
Lesson 11: Staging the Scene
Stage Directions / Creating the Locale / Movement and Stage Business / Interesting Positions / Reaching the Audience / Exercise 11-1 Setting the Stage
Lesson 12: Choices
The Need for Choices / Good Choices / Exercise 12-1 Bold Choices
Lesson 13: Performing
Stage Fright / Classroom Performance / Play for Results--In the Other Character!
Lesson 14: Evaluation and Improvement
Helpful Criticism / Reworking / Exercise 14-1 Scene Presentation
PART IV. THE ACTOR'S INSTRUMENT
Lesson 15: The Actor's Voice
Breathing / Exercise 15-1 Breathing from the Abdomen / Phonation: Making Sounds / Exercise 15-2 Sounding / Resonance / Exercise 15-3 Exploring Resonance / Pitch / Exercise 15-4 Exploring Your Pitch Range / A Stageworthy Voice / Exercise 15-5 Speaking with Resonance
Lesson 16: Stage Speech
Good Diction / Speech Sounds / Exercise 16-1 Vowels / Exercise 16-2 Repeating Syllables / Exercise 16-3 Consonants / Exercise 16-4 Speeches
Lesson 17: Using Your Voice
Liberation / Exercise 17-1 Rude Chants / Exercise 17-2 Rude Cheering / Exercise 17-3 Fancy Talk / Exercise 17-4 Address a Group / Purposefulness / Exercise 17-5 Adding Purpose
Lesson 18: The Actor's Body
Agility / Exercise 18-1 Fast Warm-Up / Alignment / Exercise 18-2 Improving Alignment / Walking / Exercise 18-3 Sixteen Walks / Exercise 18-4 Walk and Talk / Sitting and Standing / Exercise 18-5 Walk, Talk, Sit / Velocity: Accelerating, Decelerating, and Constant / Exercise 18-6 Acceleration/Deceleration / Counterpoise / Exercise 18-7 Contraposto / Exercise 18-8 Contraction/Extension / The Dynamics of Effort / Exercise 18-9 Distinct Movements / Exercise 18-10 To Be or Not to Be / Exercise 18-11 Walking and Kicking
Lesson 19: Voice and Body Integration
Coordination / Exercise 19-1 Commands / Exercise 19-2 Speeches with Business / Exercise 19-3 Physical Punctuation / Exercise 19-4 Physical Rhythms / Exercise 19-5 Verbal Rhythms / Pointing / Exercise 19-6 Pointing / Tempo / Exercise 19-7 Speech/Movement Timing / Actors with Disabilities
Lesson 20: Imagination and Creativity
Imagination / Creativity / Creativity and Imagination / Using Your Fantasies / Exercise 20-1 Cold/Hot / Exercise 20-2 Age Regression/Advancement / Exercise 20-3 Facing an Imagined Death / Exercise 20-4 Facing Love /
Lesson 21: Emotion and Acting Theory
Exercise 21-1 Playing (with) Real Emotion I / Self-Consciousness / Exercise 21-2 Playing (with) Real Emotion II / Conclusion
PART V. THE ACTOR'S TECHNIQUE
Lesson 22: Phrasing
Diction / Open-Mouthed Speaking / Exercise 22-1 A Acting with Your Teeth / Exercise 22-1 B / Exercise 22-1 C / Developing Diction / Exercise 22-2 Repeated Sentences / Exercise 22-3 Shaw Speech / Emphasis / Exercise 22-4 Change of Emphasis / Exercise 22-5 Punctuate with Emphasis / Inflection / Exercise 22-6 Inflections / Phrasing
Lesson 23: Attack
The First Word / Physical Attack / Turn-Taking / Exercise 23-1 Turn-Taking Dialog / Preparing Strong Attacks / Exercise 23-2 Action Cues
Lesson 24: Follow-Through
The Hook / Questions as Questions / Statements as Questions / Exercise
24-1 Making Questions / Statements as Statements / Exercise 24-2 Argument-Enders / Trail-offs
Lesson 25: Line Linkage
Analyzing Dialog / Rising End-Inflections / Falling End-Inflections / Attack Inflections / Pauses / Long Speeches / Exercise 25-1 Line Linking / Exercise 25-2 The Long Speech / Line Linking in Practice
Lesson 26: Scene Structure
Breaking Down a Script / Choosing a Scene to Do in Class / Structural Characteristics / Transitions / Scene Breakdown / Exercise 26-1 Scene Structure in Action
Lesson 27: Building a Scene
Building and Topping / Exercise 27-1 Standard Build I / Exercise 27-2 Standard Build II / Exercise 27-3 Standard Build III / Cutting Back / Getting on Top / Pacing a Build / Complex Builds / Exercise 27-4 I Detest Monday / Exercise 27-5 I Detest January / Exercise 27-6 Come Here / Exercise 27-7 Building Molière
Lesson 28: Creating a Monologue
Going It Alone / The Monologue to Someone Else / The Soliloquy / Playing a Monologue or Soliloquy / Exercise 28-1 Prepare a Monologue /
L'Envoi
ACTING TWO
Introduction
Terminology: Style, Character, and performance / Acting Two's Structure / A Word About Gender /
Part I. Extensions of Yourself
Lesson 1: Style
Exercise 1-1 Baby Talk / Exercise 1-2 Baby Moves / Lesson 2: Stylized Exchanges
Exercise 2-1 Pig Latin / Exercise 2-2 Speaking in (Foreign) Tongues / Exercise 2-3 Contemporary Greetings / Exercise 2-4 Making Elizabethan Greetings / Exercise 2-5 Ad-Libbing Elizabethan Greetings / Exercise 2-6 Ad-Libbing Elizabethan Insults / Exercise 2-7 Hamlet's Greeting to the Players
Lesson 3: Roses Are Red
Rhyme and Verse / Exercise 3-1 Roses Are Red / Exercise 3-2 Roses Are Redder--Take One / Eye Contact--And Looking Elsewhere / Exercise 3-3 Roses Are Redder--Take Two / Exercise 3-4 Roses Are Redder--Take Three / Thinking Your Character's Thoughts / Exercise 3-5 Roses Are Redder--Take Four / Playing the Play
Lesson 4: Playing God
Exercise 4-1 Playing God / Playing a Character
Lesson 5: Characterization
Exercise 5-1 Reciprocal Characterization: Richard and Hastings / Exercise 5-2 Intrinsic Characterization: Richard and Hastings / Intrinsic Characterizations: Extensions and Stereotypes / Centering / Exercise 5-3 Centering / Character Postures and Walks / Exercise 5-4 Character Walks / Character Voices / Exercise 5-5 Finding Your Voices / Character Descriptions / Exercise 5-6 Playing Out Character Descriptions / Animal Imagery / Exercise 5-7 Animate (Animalize) Your Character / Intrinsic and Reciprocal Characterization / Exercise 5-8 Character Greetings
Lesson 6: More God
Exercise 6-1 A Stanza, by God
Lesson 7: The Battle of the Sexes: Noah and His Wife
Scene 7-1 Noah and His Wife
Lesson 8: Performance: Being Public in Private
Exercise 8-1 A Performative God / Performative Aspects of Dramatic Scenes / Exercise 8-2 Performing Your Greetings and Insults / The Audience in the Theatre / Scene 8-3 The Performative Context: Oedipus and Creon / Exercise 8-4 The Performative Context: Shakespeare / Exercise 8-5 the Performative Context: Chekhov
Part II. The Scenes
Lesson 9: Greek Tragedy
Scene 9-1 Politician vs. Prophet: Oedipus and Teiresias / More Greek Scenes /
Lesson 10: The Commedia
Commedia Styles and Scripts / Commedia Performances / Commedia and Renaissance Ideals / Acting Commedia: Machiavelli's Clizia / Exercise 10-1 Commedia: Direct Address / Commedia Lazzi / Scene 10-1 Nicomaco and Sofronia / Stock Characters / More Commedia Scenes
Lesson 11: Shakespeare and the Elizabethan Theatre
Scene 11-1 The Past Made Vivid: Richard and Ann / Scansion / Verse Variations / Playing the Verse / Rhetoric / Playing and Building the Rhetoric / The Public Environment / Scene 11-2 A Merry War: Beatrice and Benedick / Shakespeare and Commedia / More Elizabethan Scenes
Lesson 12: The Theatre of Molière
Scene 12-1 Physical Comedy / Jourdain and the Philosopher / Molière and Commedia / Costume and Deportment / French Verse / Scene 12-2 Quarreling in Couplets: Alceste and Celimène /
Lesson 13: Restoration Comedy
Exercise 13-1 Restoration Speeches / Scene 13-1 Sexual Banter/
Lesson 14: The Belle Epoque
George Bernard Shaw / Exercise 14-1 Shaw's Political Speeches /
Anton Chekhov / Scene 14-1 Chekhov's Symphony of Feeling
Oscar Wilde / Scene 14-2 Wilde's Comedy of (Male) Manners / Exercise 14-3 Wilde's Comedy of (Female) Manners
Lesson 15: The Hypertheatre
Eugene Ionesco: Theater of the Absurd / Exercise 15-1 Theatre of Absurd: Mr. and Mrs. Martin
Bertolt Brecht: Theater of Distancing / Scene 15-2 Distancing in Szechuan / Verfremdung in Everyday Life
Lesson 16: Contemporary Styles
Clashing Cultures / 16-1 Prior and Harper / Clashing Subcultures / 16-2 Boy Willie and Grace / Clashing Professions / 16-3 Vivian and Jason / Solo performer, Multiple Roles
L'Envoi
A Glossary of Acting Terms
Index
Fundamental Principle / Exercise 3-1 Reaching / Exercise 3-2 Reaching for Goals / Exercise 3-3 Overcoming an Obstacle / Self-Consciousness / Exercise 3-4 Doing vs. Being / Projection / Exercise 3-5 Resonating / Exercise 3-6 Resonating (A Continuation) / Exercise 3-7 Goals
Lesson 4: Acting with the 'Other'
The Other / Exercise 4-1 Making Your Partner Smile / Interactive Dynamics / Exercise 4-2 Vulnerability / Exercise 4-3 Discovery / The Character / Tactics / Exercise 4-4 Using Tactics / Exercise 4-5 One Two Three Four Five Six Seven / Monologues / Exercise 4-6 Inventing the Other
Lesson 5: Beginning to Act
Contentless Scene / Exercise 5-1 Contentless Scene I / Intensifiers / Exercise 5-2 Intensifying / Physicalizers / Exercise 5-3 Varying Locale or Action / Exercise 5-4 Contentless Scene II
Lesson 6: Tactics
Punishment and Reward / Playing Tactics / Exercise 6-1 Frighten Your Partner / Exercise 6-2 Building Intensity / Exercise 6-3 Try to Make Your Partner Cry / Exercise 6-4 Movement and Contact / Exercise 6-5 Encourage Your Partner / Alternating Tactics / Exercise 6-6 Mixing Tactics / The Middle Ranges / Exercise 6-7 Eliminating the Extremes
Lesson 7: Expectations
Expecting Victory / Exercise 7-1 Playing Bored / Positive Goals / Exercise 7-2 Enthusiasm / Exercise 7-3 Try the Impossible / Eye Contact / Exercise 7-4 Tactics and Expectations
Lesson 8: GOTE
A Basic Method / "Get Your Character's GOTE" / Exercise 8-1 The GOTEsheet
PART III. THE ACTOR'S TASK
Lesson 9: Preparing a Role
Finding Your Role / Finding Your "Character" / Editing a Scene / Memorization Methods / Cues / Studying the Part / Exercise 9-1 The Gentleman Caller I
Lesson 10: Rehearsing
Rehearsals / Undirected Rehearsals / Rehearsal Alternatives / Exercise 10-1 The Gentleman Caller II
Lesson 11: Staging the Scene
Stage Directions / Creating the Locale / Movement and Stage Business / Interesting Positions / Reaching the Audience / Exercise 11-1 Setting the Stage
Lesson 12: Choices
The Need for Choices / Good Choices / Exercise 12-1 Bold Choices
Lesson 13: Performing
Stage Fright / Classroom Performance / Play for Results--In the Other Character!
Lesson 14: Evaluation and Improvement
Helpful Criticism / Reworking / Exercise 14-1 Scene Presentation
PART IV. THE ACTOR'S INSTRUMENT
Lesson 15: The Actor's Voice
Breathing / Exercise 15-1 Breathing from the Abdomen / Phonation: Making Sounds / Exercise 15-2 Sounding / Resonance / Exercise 15-3 Exploring Resonance / Pitch / Exercise 15-4 Exploring Your Pitch Range / A Stageworthy Voice / Exercise 15-5 Speaking with Resonance
Lesson 16: Stage Speech
Good Diction / Speech Sounds / Exercise 16-1 Vowels / Exercise 16-2 Repeating Syllables / Exercise 16-3 Consonants / Exercise 16-4 Speeches
Lesson 17: Using Your Voice
Liberation / Exercise 17-1 Rude Chants / Exercise 17-2 Rude Cheering / Exercise 17-3 Fancy Talk / Exercise 17-4 Address a Group / Purposefulness / Exercise 17-5 Adding Purpose
Lesson 18: The Actor's Body
Agility / Exercise 18-1 Fast Warm-Up / Alignment / Exercise 18-2 Improving Alignment / Walking / Exercise 18-3 Sixteen Walks / Exercise 18-4 Walk and Talk / Sitting and Standing / Exercise 18-5 Walk, Talk, Sit / Velocity: Accelerating, Decelerating, and Constant / Exercise 18-6 Acceleration/Deceleration / Counterpoise / Exercise 18-7 Contraposto / Exercise 18-8 Contraction/Extension / The Dynamics of Effort / Exercise 18-9 Distinct Movements / Exercise 18-10 To Be or Not to Be / Exercise 18-11 Walking and Kicking
Lesson 19: Voice and Body Integration
Coordination / Exercise 19-1 Commands / Exercise 19-2 Speeches with Business / Exercise 19-3 Physical Punctuation / Exercise 19-4 Physical Rhythms / Exercise 19-5 Verbal Rhythms / Pointing / Exercise 19-6 Pointing / Tempo / Exercise 19-7 Speech/Movement Timing / Actors with Disabilities
Lesson 20: Imagination and Creativity
Imagination / Creativity / Creativity and Imagination / Using Your Fantasies / Exercise 20-1 Cold/Hot / Exercise 20-2 Age Regression/Advancement / Exercise 20-3 Facing an Imagined Death / Exercise 20-4 Facing Love /
Lesson 21: Emotion and Acting Theory
Exercise 21-1 Playing (with) Real Emotion I / Self-Consciousness / Exercise 21-2 Playing (with) Real Emotion II / Conclusion
PART V. THE ACTOR'S TECHNIQUE
Lesson 22: Phrasing
Diction / Open-Mouthed Speaking / Exercise 22-1 A Acting with Your Teeth / Exercise 22-1 B / Exercise 22-1 C / Developing Diction / Exercise 22-2 Repeated Sentences / Exercise 22-3 Shaw Speech / Emphasis / Exercise 22-4 Change of Emphasis / Exercise 22-5 Punctuate with Emphasis / Inflection / Exercise 22-6 Inflections / Phrasing
Lesson 23: Attack
The First Word / Physical Attack / Turn-Taking / Exercise 23-1 Turn-Taking Dialog / Preparing Strong Attacks / Exercise 23-2 Action Cues
Lesson 24: Follow-Through
The Hook / Questions as Questions / Statements as Questions / Exercise
24-1 Making Questions / Statements as Statements / Exercise 24-2 Argument-Enders / Trail-offs
Lesson 25: Line Linkage
Analyzing Dialog / Rising End-Inflections / Falling End-Inflections / Attack Inflections / Pauses / Long Speeches / Exercise 25-1 Line Linking / Exercise 25-2 The Long Speech / Line Linking in Practice
Lesson 26: Scene Structure
Breaking Down a Script / Choosing a Scene to Do in Class / Structural Characteristics / Transitions / Scene Breakdown / Exercise 26-1 Scene Structure in Action
Lesson 27: Building a Scene
Building and Topping / Exercise 27-1 Standard Build I / Exercise 27-2 Standard Build II / Exercise 27-3 Standard Build III / Cutting Back / Getting on Top / Pacing a Build / Complex Builds / Exercise 27-4 I Detest Monday / Exercise 27-5 I Detest January / Exercise 27-6 Come Here / Exercise 27-7 Building Molière
Lesson 28: Creating a Monologue
Going It Alone / The Monologue to Someone Else / The Soliloquy / Playing a Monologue or Soliloquy / Exercise 28-1 Prepare a Monologue /
L'Envoi
ACTING TWO
Introduction
Terminology: Style, Character, and performance / Acting Two's Structure / A Word About Gender /
Part I. Extensions of Yourself
Lesson 1: Style
Exercise 1-1 Baby Talk / Exercise 1-2 Baby Moves / Lesson 2: Stylized Exchanges
Exercise 2-1 Pig Latin / Exercise 2-2 Speaking in (Foreign) Tongues / Exercise 2-3 Contemporary Greetings / Exercise 2-4 Making Elizabethan Greetings / Exercise 2-5 Ad-Libbing Elizabethan Greetings / Exercise 2-6 Ad-Libbing Elizabethan Insults / Exercise 2-7 Hamlet's Greeting to the Players
Lesson 3: Roses Are Red
Rhyme and Verse / Exercise 3-1 Roses Are Red / Exercise 3-2 Roses Are Redder--Take One / Eye Contact--And Looking Elsewhere / Exercise 3-3 Roses Are Redder--Take Two / Exercise 3-4 Roses Are Redder--Take Three / Thinking Your Character's Thoughts / Exercise 3-5 Roses Are Redder--Take Four / Playing the Play
Lesson 4: Playing God
Exercise 4-1 Playing God / Playing a Character
Lesson 5: Characterization
Exercise 5-1 Reciprocal Characterization: Richard and Hastings / Exercise 5-2 Intrinsic Characterization: Richard and Hastings / Intrinsic Characterizations: Extensions and Stereotypes / Centering / Exercise 5-3 Centering / Character Postures and Walks / Exercise 5-4 Character Walks / Character Voices / Exercise 5-5 Finding Your Voices / Character Descriptions / Exercise 5-6 Playing Out Character Descriptions / Animal Imagery / Exercise 5-7 Animate (Animalize) Your Character / Intrinsic and Reciprocal Characterization / Exercise 5-8 Character Greetings
Lesson 6: More God
Exercise 6-1 A Stanza, by God
Lesson 7: The Battle of the Sexes: Noah and His Wife
Scene 7-1 Noah and His Wife
Lesson 8: Performance: Being Public in Private
Exercise 8-1 A Performative God / Performative Aspects of Dramatic Scenes / Exercise 8-2 Performing Your Greetings and Insults / The Audience in the Theatre / Scene 8-3 The Performative Context: Oedipus and Creon / Exercise 8-4 The Performative Context: Shakespeare / Exercise 8-5 the Performative Context: Chekhov
Part II. The Scenes
Lesson 9: Greek Tragedy
Scene 9-1 Politician vs. Prophet: Oedipus and Teiresias / More Greek Scenes /
Lesson 10: The Commedia
Commedia Styles and Scripts / Commedia Performances / Commedia and Renaissance Ideals / Acting Commedia: Machiavelli's Clizia / Exercise 10-1 Commedia: Direct Address / Commedia Lazzi / Scene 10-1 Nicomaco and Sofronia / Stock Characters / More Commedia Scenes
Lesson 11: Shakespeare and the Elizabethan Theatre
Scene 11-1 The Past Made Vivid: Richard and Ann / Scansion / Verse Variations / Playing the Verse / Rhetoric / Playing and Building the Rhetoric / The Public Environment / Scene 11-2 A Merry War: Beatrice and Benedick / Shakespeare and Commedia / More Elizabethan Scenes
Lesson 12: The Theatre of Molière
Scene 12-1 Physical Comedy / Jourdain and the Philosopher / Molière and Commedia / Costume and Deportment / French Verse / Scene 12-2 Quarreling in Couplets: Alceste and Celimène /
Lesson 13: Restoration Comedy
Exercise 13-1 Restoration Speeches / Scene 13-1 Sexual Banter/
Lesson 14: The Belle Epoque
George Bernard Shaw / Exercise 14-1 Shaw's Political Speeches /
Anton Chekhov / Scene 14-1 Chekhov's Symphony of Feeling
Oscar Wilde / Scene 14-2 Wilde's Comedy of (Male) Manners / Exercise 14-3 Wilde's Comedy of (Female) Manners
Lesson 15: The Hypertheatre
Eugene Ionesco: Theater of the Absurd / Exercise 15-1 Theatre of Absurd: Mr. and Mrs. Martin
Bertolt Brecht: Theater of Distancing / Scene 15-2 Distancing in Szechuan / Verfremdung in Everyday Life
Lesson 16: Contemporary Styles
Clashing Cultures / 16-1 Prior and Harper / Clashing Subcultures / 16-2 Boy Willie and Grace / Clashing Professions / 16-3 Vivian and Jason / Solo performer, Multiple Roles
L'Envoi
A Glossary of Acting Terms
Index
The Other / Exercise 4-1 Making Your Partner Smile / Interactive Dynamics / Exercise 4-2 Vulnerability / Exercise 4-3 Discovery / The Character / Tactics / Exercise 4-4 Using Tactics / Exercise 4-5 One Two Three Four Five Six Seven / Monologues / Exercise 4-6 Inventing the Other
Lesson 5: Beginning to Act
Contentless Scene / Exercise 5-1 Contentless Scene I / Intensifiers / Exercise 5-2 Intensifying / Physicalizers / Exercise 5-3 Varying Locale or Action / Exercise 5-4 Contentless Scene II
Lesson 6: Tactics
Punishment and Reward / Playing Tactics / Exercise 6-1 Frighten Your Partner / Exercise 6-2 Building Intensity / Exercise 6-3 Try to Make Your Partner Cry / Exercise 6-4 Movement and Contact / Exercise 6-5 Encourage Your Partner / Alternating Tactics / Exercise 6-6 Mixing Tactics / The Middle Ranges / Exercise 6-7 Eliminating the Extremes
Lesson 7: Expectations
Expecting Victory / Exercise 7-1 Playing Bored / Positive Goals / Exercise 7-2 Enthusiasm / Exercise 7-3 Try the Impossible / Eye Contact / Exercise 7-4 Tactics and Expectations
Lesson 8: GOTE
A Basic Method / "Get Your Character's GOTE" / Exercise 8-1 The GOTEsheet
PART III. THE ACTOR'S TASK
Lesson 9: Preparing a Role
Finding Your Role / Finding Your "Character" / Editing a Scene / Memorization Methods / Cues / Studying the Part / Exercise 9-1 The Gentleman Caller I
Lesson 10: Rehearsing
Rehearsals / Undirected Rehearsals / Rehearsal Alternatives / Exercise 10-1 The Gentleman Caller II
Lesson 11: Staging the Scene
Stage Directions / Creating the Locale / Movement and Stage Business / Interesting Positions / Reaching the Audience / Exercise 11-1 Setting the Stage
Lesson 12: Choices
The Need for Choices / Good Choices / Exercise 12-1 Bold Choices
Lesson 13: Performing
Stage Fright / Classroom Performance / Play for Results--In the Other Character!
Lesson 14: Evaluation and Improvement
Helpful Criticism / Reworking / Exercise 14-1 Scene Presentation
PART IV. THE ACTOR'S INSTRUMENT
Lesson 15: The Actor's Voice
Breathing / Exercise 15-1 Breathing from the Abdomen / Phonation: Making Sounds / Exercise 15-2 Sounding / Resonance / Exercise 15-3 Exploring Resonance / Pitch / Exercise 15-4 Exploring Your Pitch Range / A Stageworthy Voice / Exercise 15-5 Speaking with Resonance
Lesson 16: Stage Speech
Good Diction / Speech Sounds / Exercise 16-1 Vowels / Exercise 16-2 Repeating Syllables / Exercise 16-3 Consonants / Exercise 16-4 Speeches
Lesson 17: Using Your Voice
Liberation / Exercise 17-1 Rude Chants / Exercise 17-2 Rude Cheering / Exercise 17-3 Fancy Talk / Exercise 17-4 Address a Group / Purposefulness / Exercise 17-5 Adding Purpose
Lesson 18: The Actor's Body
Agility / Exercise 18-1 Fast Warm-Up / Alignment / Exercise 18-2 Improving Alignment / Walking / Exercise 18-3 Sixteen Walks / Exercise 18-4 Walk and Talk / Sitting and Standing / Exercise 18-5 Walk, Talk, Sit / Velocity: Accelerating, Decelerating, and Constant / Exercise 18-6 Acceleration/Deceleration / Counterpoise / Exercise 18-7 Contraposto / Exercise 18-8 Contraction/Extension / The Dynamics of Effort / Exercise 18-9 Distinct Movements / Exercise 18-10 To Be or Not to Be / Exercise 18-11 Walking and Kicking
Lesson 19: Voice and Body Integration
Coordination / Exercise 19-1 Commands / Exercise 19-2 Speeches with Business / Exercise 19-3 Physical Punctuation / Exercise 19-4 Physical Rhythms / Exercise 19-5 Verbal Rhythms / Pointing / Exercise 19-6 Pointing / Tempo / Exercise 19-7 Speech/Movement Timing / Actors with Disabilities
Lesson 20: Imagination and Creativity
Imagination / Creativity / Creativity and Imagination / Using Your Fantasies / Exercise 20-1 Cold/Hot / Exercise 20-2 Age Regression/Advancement / Exercise 20-3 Facing an Imagined Death / Exercise 20-4 Facing Love /
Lesson 21: Emotion and Acting Theory
Exercise 21-1 Playing (with) Real Emotion I / Self-Consciousness / Exercise 21-2 Playing (with) Real Emotion II / Conclusion
PART V. THE ACTOR'S TECHNIQUE
Lesson 22: Phrasing
Diction / Open-Mouthed Speaking / Exercise 22-1 A Acting with Your Teeth / Exercise 22-1 B / Exercise 22-1 C / Developing Diction / Exercise 22-2 Repeated Sentences / Exercise 22-3 Shaw Speech / Emphasis / Exercise 22-4 Change of Emphasis / Exercise 22-5 Punctuate with Emphasis / Inflection / Exercise 22-6 Inflections / Phrasing
Lesson 23: Attack
The First Word / Physical Attack / Turn-Taking / Exercise 23-1 Turn-Taking Dialog / Preparing Strong Attacks / Exercise 23-2 Action Cues
Lesson 24: Follow-Through
The Hook / Questions as Questions / Statements as Questions / Exercise
24-1 Making Questions / Statements as Statements / Exercise 24-2 Argument-Enders / Trail-offs
Lesson 25: Line Linkage
Analyzing Dialog / Rising End-Inflections / Falling End-Inflections / Attack Inflections / Pauses / Long Speeches / Exercise 25-1 Line Linking / Exercise 25-2 The Long Speech / Line Linking in Practice
Lesson 26: Scene Structure
Breaking Down a Script / Choosing a Scene to Do in Class / Structural Characteristics / Transitions / Scene Breakdown / Exercise 26-1 Scene Structure in Action
Lesson 27: Building a Scene
Building and Topping / Exercise 27-1 Standard Build I / Exercise 27-2 Standard Build II / Exercise 27-3 Standard Build III / Cutting Back / Getting on Top / Pacing a Build / Complex Builds / Exercise 27-4 I Detest Monday / Exercise 27-5 I Detest January / Exercise 27-6 Come Here / Exercise 27-7 Building Molière
Lesson 28: Creating a Monologue
Going It Alone / The Monologue to Someone Else / The Soliloquy / Playing a Monologue or Soliloquy / Exercise 28-1 Prepare a Monologue /
L'Envoi
ACTING TWO
Introduction
Terminology: Style, Character, and performance / Acting Two's Structure / A Word About Gender /
Part I. Extensions of Yourself
Lesson 1: Style
Exercise 1-1 Baby Talk / Exercise 1-2 Baby Moves / Lesson 2: Stylized Exchanges
Exercise 2-1 Pig Latin / Exercise 2-2 Speaking in (Foreign) Tongues / Exercise 2-3 Contemporary Greetings / Exercise 2-4 Making Elizabethan Greetings / Exercise 2-5 Ad-Libbing Elizabethan Greetings / Exercise 2-6 Ad-Libbing Elizabethan Insults / Exercise 2-7 Hamlet's Greeting to the Players
Lesson 3: Roses Are Red
Rhyme and Verse / Exercise 3-1 Roses Are Red / Exercise 3-2 Roses Are Redder--Take One / Eye Contact--And Looking Elsewhere / Exercise 3-3 Roses Are Redder--Take Two / Exercise 3-4 Roses Are Redder--Take Three / Thinking Your Character's Thoughts / Exercise 3-5 Roses Are Redder--Take Four / Playing the Play
Lesson 4: Playing God
Exercise 4-1 Playing God / Playing a Character
Lesson 5: Characterization
Exercise 5-1 Reciprocal Characterization: Richard and Hastings / Exercise 5-2 Intrinsic Characterization: Richard and Hastings / Intrinsic Characterizations: Extensions and Stereotypes / Centering / Exercise 5-3 Centering / Character Postures and Walks / Exercise 5-4 Character Walks / Character Voices / Exercise 5-5 Finding Your Voices / Character Descriptions / Exercise 5-6 Playing Out Character Descriptions / Animal Imagery / Exercise 5-7 Animate (Animalize) Your Character / Intrinsic and Reciprocal Characterization / Exercise 5-8 Character Greetings
Lesson 6: More God
Exercise 6-1 A Stanza, by God
Lesson 7: The Battle of the Sexes: Noah and His Wife
Scene 7-1 Noah and His Wife
Lesson 8: Performance: Being Public in Private
Exercise 8-1 A Performative God / Performative Aspects of Dramatic Scenes / Exercise 8-2 Performing Your Greetings and Insults / The Audience in the Theatre / Scene 8-3 The Performative Context: Oedipus and Creon / Exercise 8-4 The Performative Context: Shakespeare / Exercise 8-5 the Performative Context: Chekhov
Part II. The Scenes
Lesson 9: Greek Tragedy
Scene 9-1 Politician vs. Prophet: Oedipus and Teiresias / More Greek Scenes /
Lesson 10: The Commedia
Commedia Styles and Scripts / Commedia Performances / Commedia and Renaissance Ideals / Acting Commedia: Machiavelli's Clizia / Exercise 10-1 Commedia: Direct Address / Commedia Lazzi / Scene 10-1 Nicomaco and Sofronia / Stock Characters / More Commedia Scenes
Lesson 11: Shakespeare and the Elizabethan Theatre
Scene 11-1 The Past Made Vivid: Richard and Ann / Scansion / Verse Variations / Playing the Verse / Rhetoric / Playing and Building the Rhetoric / The Public Environment / Scene 11-2 A Merry War: Beatrice and Benedick / Shakespeare and Commedia / More Elizabethan Scenes
Lesson 12: The Theatre of Molière
Scene 12-1 Physical Comedy / Jourdain and the Philosopher / Molière and Commedia / Costume and Deportment / French Verse / Scene 12-2 Quarreling in Couplets: Alceste and Celimène /
Lesson 13: Restoration Comedy
Exercise 13-1 Restoration Speeches / Scene 13-1 Sexual Banter/
Lesson 14: The Belle Epoque
George Bernard Shaw / Exercise 14-1 Shaw's Political Speeches /
Anton Chekhov / Scene 14-1 Chekhov's Symphony of Feeling
Oscar Wilde / Scene 14-2 Wilde's Comedy of (Male) Manners / Exercise 14-3 Wilde's Comedy of (Female) Manners
Lesson 15: The Hypertheatre
Eugene Ionesco: Theater of the Absurd / Exercise 15-1 Theatre of Absurd: Mr. and Mrs. Martin
Bertolt Brecht: Theater of Distancing / Scene 15-2 Distancing in Szechuan / Verfremdung in Everyday Life
Lesson 16: Contemporary Styles
Clashing Cultures / 16-1 Prior and Harper / Clashing Subcultures / 16-2 Boy Willie and Grace / Clashing Professions / 16-3 Vivian and Jason / Solo performer, Multiple Roles
L'Envoi
A Glossary of Acting Terms
Index
Contentless Scene / Exercise 5-1 Contentless Scene I / Intensifiers / Exercise 5-2 Intensifying / Physicalizers / Exercise 5-3 Varying Locale or Action / Exercise 5-4 Contentless Scene II
Lesson 6: Tactics
Punishment and Reward / Playing Tactics / Exercise 6-1 Frighten Your Partner / Exercise 6-2 Building Intensity / Exercise 6-3 Try to Make Your Partner Cry / Exercise 6-4 Movement and Contact / Exercise 6-5 Encourage Your Partner / Alternating Tactics / Exercise 6-6 Mixing Tactics / The Middle Ranges / Exercise 6-7 Eliminating the Extremes
Lesson 7: Expectations
Expecting Victory / Exercise 7-1 Playing Bored / Positive Goals / Exercise 7-2 Enthusiasm / Exercise 7-3 Try the Impossible / Eye Contact / Exercise 7-4 Tactics and Expectations
Lesson 8: GOTE
A Basic Method / "Get Your Character's GOTE" / Exercise 8-1 The GOTEsheet
PART III. THE ACTOR'S TASK
Lesson 9: Preparing a Role
Finding Your Role / Finding Your "Character" / Editing a Scene / Memorization Methods / Cues / Studying the Part / Exercise 9-1 The Gentleman Caller I
Lesson 10: Rehearsing
Rehearsals / Undirected Rehearsals / Rehearsal Alternatives / Exercise 10-1 The Gentleman Caller II
Lesson 11: Staging the Scene
Stage Directions / Creating the Locale / Movement and Stage Business / Interesting Positions / Reaching the Audience / Exercise 11-1 Setting the Stage
Lesson 12: Choices
The Need for Choices / Good Choices / Exercise 12-1 Bold Choices
Lesson 13: Performing
Stage Fright / Classroom Performance / Play for Results--In the Other Character!
Lesson 14: Evaluation and Improvement
Helpful Criticism / Reworking / Exercise 14-1 Scene Presentation
PART IV. THE ACTOR'S INSTRUMENT
Lesson 15: The Actor's Voice
Breathing / Exercise 15-1 Breathing from the Abdomen / Phonation: Making Sounds / Exercise 15-2 Sounding / Resonance / Exercise 15-3 Exploring Resonance / Pitch / Exercise 15-4 Exploring Your Pitch Range / A Stageworthy Voice / Exercise 15-5 Speaking with Resonance
Lesson 16: Stage Speech
Good Diction / Speech Sounds / Exercise 16-1 Vowels / Exercise 16-2 Repeating Syllables / Exercise 16-3 Consonants / Exercise 16-4 Speeches
Lesson 17: Using Your Voice
Liberation / Exercise 17-1 Rude Chants / Exercise 17-2 Rude Cheering / Exercise 17-3 Fancy Talk / Exercise 17-4 Address a Group / Purposefulness / Exercise 17-5 Adding Purpose
Lesson 18: The Actor's Body
Agility / Exercise 18-1 Fast Warm-Up / Alignment / Exercise 18-2 Improving Alignment / Walking / Exercise 18-3 Sixteen Walks / Exercise 18-4 Walk and Talk / Sitting and Standing / Exercise 18-5 Walk, Talk, Sit / Velocity: Accelerating, Decelerating, and Constant / Exercise 18-6 Acceleration/Deceleration / Counterpoise / Exercise 18-7 Contraposto / Exercise 18-8 Contraction/Extension / The Dynamics of Effort / Exercise 18-9 Distinct Movements / Exercise 18-10 To Be or Not to Be / Exercise 18-11 Walking and Kicking
Lesson 19: Voice and Body Integration
Coordination / Exercise 19-1 Commands / Exercise 19-2 Speeches with Business / Exercise 19-3 Physical Punctuation / Exercise 19-4 Physical Rhythms / Exercise 19-5 Verbal Rhythms / Pointing / Exercise 19-6 Pointing / Tempo / Exercise 19-7 Speech/Movement Timing / Actors with Disabilities
Lesson 20: Imagination and Creativity
Imagination / Creativity / Creativity and Imagination / Using Your Fantasies / Exercise 20-1 Cold/Hot / Exercise 20-2 Age Regression/Advancement / Exercise 20-3 Facing an Imagined Death / Exercise 20-4 Facing Love /
Lesson 21: Emotion and Acting Theory
Exercise 21-1 Playing (with) Real Emotion I / Self-Consciousness / Exercise 21-2 Playing (with) Real Emotion II / Conclusion
PART V. THE ACTOR'S TECHNIQUE
Lesson 22: Phrasing
Diction / Open-Mouthed Speaking / Exercise 22-1 A Acting with Your Teeth / Exercise 22-1 B / Exercise 22-1 C / Developing Diction / Exercise 22-2 Repeated Sentences / Exercise 22-3 Shaw Speech / Emphasis / Exercise 22-4 Change of Emphasis / Exercise 22-5 Punctuate with Emphasis / Inflection / Exercise 22-6 Inflections / Phrasing
Lesson 23: Attack
The First Word / Physical Attack / Turn-Taking / Exercise 23-1 Turn-Taking Dialog / Preparing Strong Attacks / Exercise 23-2 Action Cues
Lesson 24: Follow-Through
The Hook / Questions as Questions / Statements as Questions / Exercise
24-1 Making Questions / Statements as Statements / Exercise 24-2 Argument-Enders / Trail-offs
Lesson 25: Line Linkage
Analyzing Dialog / Rising End-Inflections / Falling End-Inflections / Attack Inflections / Pauses / Long Speeches / Exercise 25-1 Line Linking / Exercise 25-2 The Long Speech / Line Linking in Practice
Lesson 26: Scene Structure
Breaking Down a Script / Choosing a Scene to Do in Class / Structural Characteristics / Transitions / Scene Breakdown / Exercise 26-1 Scene Structure in Action
Lesson 27: Building a Scene
Building and Topping / Exercise 27-1 Standard Build I / Exercise 27-2 Standard Build II / Exercise 27-3 Standard Build III / Cutting Back / Getting on Top / Pacing a Build / Complex Builds / Exercise 27-4 I Detest Monday / Exercise 27-5 I Detest January / Exercise 27-6 Come Here / Exercise 27-7 Building Molière
Lesson 28: Creating a Monologue
Going It Alone / The Monologue to Someone Else / The Soliloquy / Playing a Monologue or Soliloquy / Exercise 28-1 Prepare a Monologue /
L'Envoi
ACTING TWO
Introduction
Terminology: Style, Character, and performance / Acting Two's Structure / A Word About Gender /
Part I. Extensions of Yourself
Lesson 1: Style
Exercise 1-1 Baby Talk / Exercise 1-2 Baby Moves / Lesson 2: Stylized Exchanges
Exercise 2-1 Pig Latin / Exercise 2-2 Speaking in (Foreign) Tongues / Exercise 2-3 Contemporary Greetings / Exercise 2-4 Making Elizabethan Greetings / Exercise 2-5 Ad-Libbing Elizabethan Greetings / Exercise 2-6 Ad-Libbing Elizabethan Insults / Exercise 2-7 Hamlet's Greeting to the Players
Lesson 3: Roses Are Red
Rhyme and Verse / Exercise 3-1 Roses Are Red / Exercise 3-2 Roses Are Redder--Take One / Eye Contact--And Looking Elsewhere / Exercise 3-3 Roses Are Redder--Take Two / Exercise 3-4 Roses Are Redder--Take Three / Thinking Your Character's Thoughts / Exercise 3-5 Roses Are Redder--Take Four / Playing the Play
Lesson 4: Playing God
Exercise 4-1 Playing God / Playing a Character
Lesson 5: Characterization
Exercise 5-1 Reciprocal Characterization: Richard and Hastings / Exercise 5-2 Intrinsic Characterization: Richard and Hastings / Intrinsic Characterizations: Extensions and Stereotypes / Centering / Exercise 5-3 Centering / Character Postures and Walks / Exercise 5-4 Character Walks / Character Voices / Exercise 5-5 Finding Your Voices / Character Descriptions / Exercise 5-6 Playing Out Character Descriptions / Animal Imagery / Exercise 5-7 Animate (Animalize) Your Character / Intrinsic and Reciprocal Characterization / Exercise 5-8 Character Greetings
Lesson 6: More God
Exercise 6-1 A Stanza, by God
Lesson 7: The Battle of the Sexes: Noah and His Wife
Scene 7-1 Noah and His Wife
Lesson 8: Performance: Being Public in Private
Exercise 8-1 A Performative God / Performative Aspects of Dramatic Scenes / Exercise 8-2 Performing Your Greetings and Insults / The Audience in the Theatre / Scene 8-3 The Performative Context: Oedipus and Creon / Exercise 8-4 The Performative Context: Shakespeare / Exercise 8-5 the Performative Context: Chekhov
Part II. The Scenes
Lesson 9: Greek Tragedy
Scene 9-1 Politician vs. Prophet: Oedipus and Teiresias / More Greek Scenes /
Lesson 10: The Commedia
Commedia Styles and Scripts / Commedia Performances / Commedia and Renaissance Ideals / Acting Commedia: Machiavelli's Clizia / Exercise 10-1 Commedia: Direct Address / Commedia Lazzi / Scene 10-1 Nicomaco and Sofronia / Stock Characters / More Commedia Scenes
Lesson 11: Shakespeare and the Elizabethan Theatre
Scene 11-1 The Past Made Vivid: Richard and Ann / Scansion / Verse Variations / Playing the Verse / Rhetoric / Playing and Building the Rhetoric / The Public Environment / Scene 11-2 A Merry War: Beatrice and Benedick / Shakespeare and Commedia / More Elizabethan Scenes
Lesson 12: The Theatre of Molière
Scene 12-1 Physical Comedy / Jourdain and the Philosopher / Molière and Commedia / Costume and Deportment / French Verse / Scene 12-2 Quarreling in Couplets: Alceste and Celimène /
Lesson 13: Restoration Comedy
Exercise 13-1 Restoration Speeches / Scene 13-1 Sexual Banter/
Lesson 14: The Belle Epoque
George Bernard Shaw / Exercise 14-1 Shaw's Political Speeches /
Anton Chekhov / Scene 14-1 Chekhov's Symphony of Feeling
Oscar Wilde / Scene 14-2 Wilde's Comedy of (Male) Manners / Exercise 14-3 Wilde's Comedy of (Female) Manners
Lesson 15: The Hypertheatre
Eugene Ionesco: Theater of the Absurd / Exercise 15-1 Theatre of Absurd: Mr. and Mrs. Martin
Bertolt Brecht: Theater of Distancing / Scene 15-2 Distancing in Szechuan / Verfremdung in Everyday Life
Lesson 16: Contemporary Styles
Clashing Cultures / 16-1 Prior and Harper / Clashing Subcultures / 16-2 Boy Willie and Grace / Clashing Professions / 16-3 Vivian and Jason / Solo performer, Multiple Roles
L'Envoi
A Glossary of Acting Terms
Index
Punishment and Reward / Playing Tactics / Exercise 6-1 Frighten Your Partner / Exercise 6-2 Building Intensity / Exercise 6-3 Try to Make Your Partner Cry / Exercise 6-4 Movement and Contact / Exercise 6-5 Encourage Your Partner / Alternating Tactics / Exercise 6-6 Mixing Tactics / The Middle Ranges / Exercise 6-7 Eliminating the Extremes
Lesson 7: Expectations
Expecting Victory / Exercise 7-1 Playing Bored / Positive Goals / Exercise 7-2 Enthusiasm / Exercise 7-3 Try the Impossible / Eye Contact / Exercise 7-4 Tactics and Expectations
Lesson 8: GOTE
A Basic Method / "Get Your Character's GOTE" / Exercise 8-1 The GOTEsheet
PART III. THE ACTOR'S TASK
Lesson 9: Preparing a Role
Finding Your Role / Finding Your "Character" / Editing a Scene / Memorization Methods / Cues / Studying the Part / Exercise 9-1 The Gentleman Caller I
Lesson 10: Rehearsing
Rehearsals / Undirected Rehearsals / Rehearsal Alternatives / Exercise 10-1 The Gentleman Caller II
Lesson 11: Staging the Scene
Stage Directions / Creating the Locale / Movement and Stage Business / Interesting Positions / Reaching the Audience / Exercise 11-1 Setting the Stage
Lesson 12: Choices
The Need for Choices / Good Choices / Exercise 12-1 Bold Choices
Lesson 13: Performing
Stage Fright / Classroom Performance / Play for Results--In the Other Character!
Lesson 14: Evaluation and Improvement
Helpful Criticism / Reworking / Exercise 14-1 Scene Presentation
PART IV. THE ACTOR'S INSTRUMENT
Lesson 15: The Actor's Voice
Breathing / Exercise 15-1 Breathing from the Abdomen / Phonation: Making Sounds / Exercise 15-2 Sounding / Resonance / Exercise 15-3 Exploring Resonance / Pitch / Exercise 15-4 Exploring Your Pitch Range / A Stageworthy Voice / Exercise 15-5 Speaking with Resonance
Lesson 16: Stage Speech
Good Diction / Speech Sounds / Exercise 16-1 Vowels / Exercise 16-2 Repeating Syllables / Exercise 16-3 Consonants / Exercise 16-4 Speeches
Lesson 17: Using Your Voice
Liberation / Exercise 17-1 Rude Chants / Exercise 17-2 Rude Cheering / Exercise 17-3 Fancy Talk / Exercise 17-4 Address a Group / Purposefulness / Exercise 17-5 Adding Purpose
Lesson 18: The Actor's Body
Agility / Exercise 18-1 Fast Warm-Up / Alignment / Exercise 18-2 Improving Alignment / Walking / Exercise 18-3 Sixteen Walks / Exercise 18-4 Walk and Talk / Sitting and Standing / Exercise 18-5 Walk, Talk, Sit / Velocity: Accelerating, Decelerating, and Constant / Exercise 18-6 Acceleration/Deceleration / Counterpoise / Exercise 18-7 Contraposto / Exercise 18-8 Contraction/Extension / The Dynamics of Effort / Exercise 18-9 Distinct Movements / Exercise 18-10 To Be or Not to Be / Exercise 18-11 Walking and Kicking
Lesson 19: Voice and Body Integration
Coordination / Exercise 19-1 Commands / Exercise 19-2 Speeches with Business / Exercise 19-3 Physical Punctuation / Exercise 19-4 Physical Rhythms / Exercise 19-5 Verbal Rhythms / Pointing / Exercise 19-6 Pointing / Tempo / Exercise 19-7 Speech/Movement Timing / Actors with Disabilities
Lesson 20: Imagination and Creativity
Imagination / Creativity / Creativity and Imagination / Using Your Fantasies / Exercise 20-1 Cold/Hot / Exercise 20-2 Age Regression/Advancement / Exercise 20-3 Facing an Imagined Death / Exercise 20-4 Facing Love /
Lesson 21: Emotion and Acting Theory
Exercise 21-1 Playing (with) Real Emotion I / Self-Consciousness / Exercise 21-2 Playing (with) Real Emotion II / Conclusion
PART V. THE ACTOR'S TECHNIQUE
Lesson 22: Phrasing
Diction / Open-Mouthed Speaking / Exercise 22-1 A Acting with Your Teeth / Exercise 22-1 B / Exercise 22-1 C / Developing Diction / Exercise 22-2 Repeated Sentences / Exercise 22-3 Shaw Speech / Emphasis / Exercise 22-4 Change of Emphasis / Exercise 22-5 Punctuate with Emphasis / Inflection / Exercise 22-6 Inflections / Phrasing
Lesson 23: Attack
The First Word / Physical Attack / Turn-Taking / Exercise 23-1 Turn-Taking Dialog / Preparing Strong Attacks / Exercise 23-2 Action Cues
Lesson 24: Follow-Through
The Hook / Questions as Questions / Statements as Questions / Exercise
24-1 Making Questions / Statements as Statements / Exercise 24-2 Argument-Enders / Trail-offs
Lesson 25: Line Linkage
Analyzing Dialog / Rising End-Inflections / Falling End-Inflections / Attack Inflections / Pauses / Long Speeches / Exercise 25-1 Line Linking / Exercise 25-2 The Long Speech / Line Linking in Practice
Lesson 26: Scene Structure
Breaking Down a Script / Choosing a Scene to Do in Class / Structural Characteristics / Transitions / Scene Breakdown / Exercise 26-1 Scene Structure in Action
Lesson 27: Building a Scene
Building and Topping / Exercise 27-1 Standard Build I / Exercise 27-2 Standard Build II / Exercise 27-3 Standard Build III / Cutting Back / Getting on Top / Pacing a Build / Complex Builds / Exercise 27-4 I Detest Monday / Exercise 27-5 I Detest January / Exercise 27-6 Come Here / Exercise 27-7 Building Molière
Lesson 28: Creating a Monologue
Going It Alone / The Monologue to Someone Else / The Soliloquy / Playing a Monologue or Soliloquy / Exercise 28-1 Prepare a Monologue /
L'Envoi
ACTING TWO
Introduction
Terminology: Style, Character, and performance / Acting Two's Structure / A Word About Gender /
Part I. Extensions of Yourself
Lesson 1: Style
Exercise 1-1 Baby Talk / Exercise 1-2 Baby Moves / Lesson 2: Stylized Exchanges
Exercise 2-1 Pig Latin / Exercise 2-2 Speaking in (Foreign) Tongues / Exercise 2-3 Contemporary Greetings / Exercise 2-4 Making Elizabethan Greetings / Exercise 2-5 Ad-Libbing Elizabethan Greetings / Exercise 2-6 Ad-Libbing Elizabethan Insults / Exercise 2-7 Hamlet's Greeting to the Players
Lesson 3: Roses Are Red
Rhyme and Verse / Exercise 3-1 Roses Are Red / Exercise 3-2 Roses Are Redder--Take One / Eye Contact--And Looking Elsewhere / Exercise 3-3 Roses Are Redder--Take Two / Exercise 3-4 Roses Are Redder--Take Three / Thinking Your Character's Thoughts / Exercise 3-5 Roses Are Redder--Take Four / Playing the Play
Lesson 4: Playing God
Exercise 4-1 Playing God / Playing a Character
Lesson 5: Characterization
Exercise 5-1 Reciprocal Characterization: Richard and Hastings / Exercise 5-2 Intrinsic Characterization: Richard and Hastings / Intrinsic Characterizations: Extensions and Stereotypes / Centering / Exercise 5-3 Centering / Character Postures and Walks / Exercise 5-4 Character Walks / Character Voices / Exercise 5-5 Finding Your Voices / Character Descriptions / Exercise 5-6 Playing Out Character Descriptions / Animal Imagery / Exercise 5-7 Animate (Animalize) Your Character / Intrinsic and Reciprocal Characterization / Exercise 5-8 Character Greetings
Lesson 6: More God
Exercise 6-1 A Stanza, by God
Lesson 7: The Battle of the Sexes: Noah and His Wife
Scene 7-1 Noah and His Wife
Lesson 8: Performance: Being Public in Private
Exercise 8-1 A Performative God / Performative Aspects of Dramatic Scenes / Exercise 8-2 Performing Your Greetings and Insults / The Audience in the Theatre / Scene 8-3 The Performative Context: Oedipus and Creon / Exercise 8-4 The Performative Context: Shakespeare / Exercise 8-5 the Performative Context: Chekhov
Part II. The Scenes
Lesson 9: Greek Tragedy
Scene 9-1 Politician vs. Prophet: Oedipus and Teiresias / More Greek Scenes /
Lesson 10: The Commedia
Commedia Styles and Scripts / Commedia Performances / Commedia and Renaissance Ideals / Acting Commedia: Machiavelli's Clizia / Exercise 10-1 Commedia: Direct Address / Commedia Lazzi / Scene 10-1 Nicomaco and Sofronia / Stock Characters / More Commedia Scenes
Lesson 11: Shakespeare and the Elizabethan Theatre
Scene 11-1 The Past Made Vivid: Richard and Ann / Scansion / Verse Variations / Playing the Verse / Rhetoric / Playing and Building the Rhetoric / The Public Environment / Scene 11-2 A Merry War: Beatrice and Benedick / Shakespeare and Commedia / More Elizabethan Scenes
Lesson 12: The Theatre of Molière
Scene 12-1 Physical Comedy / Jourdain and the Philosopher / Molière and Commedia / Costume and Deportment / French Verse / Scene 12-2 Quarreling in Couplets: Alceste and Celimène /
Lesson 13: Restoration Comedy
Exercise 13-1 Restoration Speeches / Scene 13-1 Sexual Banter/
Lesson 14: The Belle Epoque
George Bernard Shaw / Exercise 14-1 Shaw's Political Speeches /
Anton Chekhov / Scene 14-1 Chekhov's Symphony of Feeling
Oscar Wilde / Scene 14-2 Wilde's Comedy of (Male) Manners / Exercise 14-3 Wilde's Comedy of (Female) Manners
Lesson 15: The Hypertheatre
Eugene Ionesco: Theater of the Absurd / Exercise 15-1 Theatre of Absurd: Mr. and Mrs. Martin
Bertolt Brecht: Theater of Distancing / Scene 15-2 Distancing in Szechuan / Verfremdung in Everyday Life
Lesson 16: Contemporary Styles
Clashing Cultures / 16-1 Prior and Harper / Clashing Subcultures / 16-2 Boy Willie and Grace / Clashing Professions / 16-3 Vivian and Jason / Solo performer, Multiple Roles
L'Envoi
A Glossary of Acting Terms
Index
Expecting Victory / Exercise 7-1 Playing Bored / Positive Goals / Exercise 7-2 Enthusiasm / Exercise 7-3 Try the Impossible / Eye Contact / Exercise 7-4 Tactics and Expectations
Lesson 8: GOTE
A Basic Method / "Get Your Character's GOTE" / Exercise 8-1 The GOTEsheet
PART III. THE ACTOR'S TASK
Lesson 9: Preparing a Role
Finding Your Role / Finding Your "Character" / Editing a Scene / Memorization Methods / Cues / Studying the Part / Exercise 9-1 The Gentleman Caller I
Lesson 10: Rehearsing
Rehearsals / Undirected Rehearsals / Rehearsal Alternatives / Exercise 10-1 The Gentleman Caller II
Lesson 11: Staging the Scene
Stage Directions / Creating the Locale / Movement and Stage Business / Interesting Positions / Reaching the Audience / Exercise 11-1 Setting the Stage
Lesson 12: Choices
The Need for Choices / Good Choices / Exercise 12-1 Bold Choices
Lesson 13: Performing
Stage Fright / Classroom Performance / Play for Results--In the Other Character!
Lesson 14: Evaluation and Improvement
Helpful Criticism / Reworking / Exercise 14-1 Scene Presentation
PART IV. THE ACTOR'S INSTRUMENT
Lesson 15: The Actor's Voice
Breathing / Exercise 15-1 Breathing from the Abdomen / Phonation: Making Sounds / Exercise 15-2 Sounding / Resonance / Exercise 15-3 Exploring Resonance / Pitch / Exercise 15-4 Exploring Your Pitch Range / A Stageworthy Voice / Exercise 15-5 Speaking with Resonance
Lesson 16: Stage Speech
Good Diction / Speech Sounds / Exercise 16-1 Vowels / Exercise 16-2 Repeating Syllables / Exercise 16-3 Consonants / Exercise 16-4 Speeches
Lesson 17: Using Your Voice
Liberation / Exercise 17-1 Rude Chants / Exercise 17-2 Rude Cheering / Exercise 17-3 Fancy Talk / Exercise 17-4 Address a Group / Purposefulness / Exercise 17-5 Adding Purpose
Lesson 18: The Actor's Body
Agility / Exercise 18-1 Fast Warm-Up / Alignment / Exercise 18-2 Improving Alignment / Walking / Exercise 18-3 Sixteen Walks / Exercise 18-4 Walk and Talk / Sitting and Standing / Exercise 18-5 Walk, Talk, Sit / Velocity: Accelerating, Decelerating, and Constant / Exercise 18-6 Acceleration/Deceleration / Counterpoise / Exercise 18-7 Contraposto / Exercise 18-8 Contraction/Extension / The Dynamics of Effort / Exercise 18-9 Distinct Movements / Exercise 18-10 To Be or Not to Be / Exercise 18-11 Walking and Kicking
Lesson 19: Voice and Body Integration
Coordination / Exercise 19-1 Commands / Exercise 19-2 Speeches with Business / Exercise 19-3 Physical Punctuation / Exercise 19-4 Physical Rhythms / Exercise 19-5 Verbal Rhythms / Pointing / Exercise 19-6 Pointing / Tempo / Exercise 19-7 Speech/Movement Timing / Actors with Disabilities
Lesson 20: Imagination and Creativity
Imagination / Creativity / Creativity and Imagination / Using Your Fantasies / Exercise 20-1 Cold/Hot / Exercise 20-2 Age Regression/Advancement / Exercise 20-3 Facing an Imagined Death / Exercise 20-4 Facing Love /
Lesson 21: Emotion and Acting Theory
Exercise 21-1 Playing (with) Real Emotion I / Self-Consciousness / Exercise 21-2 Playing (with) Real Emotion II / Conclusion
PART V. THE ACTOR'S TECHNIQUE
Lesson 22: Phrasing
Diction / Open-Mouthed Speaking / Exercise 22-1 A Acting with Your Teeth / Exercise 22-1 B / Exercise 22-1 C / Developing Diction / Exercise 22-2 Repeated Sentences / Exercise 22-3 Shaw Speech / Emphasis / Exercise 22-4 Change of Emphasis / Exercise 22-5 Punctuate with Emphasis / Inflection / Exercise 22-6 Inflections / Phrasing
Lesson 23: Attack
The First Word / Physical Attack / Turn-Taking / Exercise 23-1 Turn-Taking Dialog / Preparing Strong Attacks / Exercise 23-2 Action Cues
Lesson 24: Follow-Through
The Hook / Questions as Questions / Statements as Questions / Exercise
24-1 Making Questions / Statements as Statements / Exercise 24-2 Argument-Enders / Trail-offs
Lesson 25: Line Linkage
Analyzing Dialog / Rising End-Inflections / Falling End-Inflections / Attack Inflections / Pauses / Long Speeches / Exercise 25-1 Line Linking / Exercise 25-2 The Long Speech / Line Linking in Practice
Lesson 26: Scene Structure
Breaking Down a Script / Choosing a Scene to Do in Class / Structural Characteristics / Transitions / Scene Breakdown / Exercise 26-1 Scene Structure in Action
Lesson 27: Building a Scene
Building and Topping / Exercise 27-1 Standard Build I / Exercise 27-2 Standard Build II / Exercise 27-3 Standard Build III / Cutting Back / Getting on Top / Pacing a Build / Complex Builds / Exercise 27-4 I Detest Monday / Exercise 27-5 I Detest January / Exercise 27-6 Come Here / Exercise 27-7 Building Molière
Lesson 28: Creating a Monologue
Going It Alone / The Monologue to Someone Else / The Soliloquy / Playing a Monologue or Soliloquy / Exercise 28-1 Prepare a Monologue /
L'Envoi
ACTING TWO
Introduction
Terminology: Style, Character, and performance / Acting Two's Structure / A Word About Gender /
Part I. Extensions of Yourself
Lesson 1: Style
Exercise 1-1 Baby Talk / Exercise 1-2 Baby Moves / Lesson 2: Stylized Exchanges
Exercise 2-1 Pig Latin / Exercise 2-2 Speaking in (Foreign) Tongues / Exercise 2-3 Contemporary Greetings / Exercise 2-4 Making Elizabethan Greetings / Exercise 2-5 Ad-Libbing Elizabethan Greetings / Exercise 2-6 Ad-Libbing Elizabethan Insults / Exercise 2-7 Hamlet's Greeting to the Players
Lesson 3: Roses Are Red
Rhyme and Verse / Exercise 3-1 Roses Are Red / Exercise 3-2 Roses Are Redder--Take One / Eye Contact--And Looking Elsewhere / Exercise 3-3 Roses Are Redder--Take Two / Exercise 3-4 Roses Are Redder--Take Three / Thinking Your Character's Thoughts / Exercise 3-5 Roses Are Redder--Take Four / Playing the Play
Lesson 4: Playing God
Exercise 4-1 Playing God / Playing a Character
Lesson 5: Characterization
Exercise 5-1 Reciprocal Characterization: Richard and Hastings / Exercise 5-2 Intrinsic Characterization: Richard and Hastings / Intrinsic Characterizations: Extensions and Stereotypes / Centering / Exercise 5-3 Centering / Character Postures and Walks / Exercise 5-4 Character Walks / Character Voices / Exercise 5-5 Finding Your Voices / Character Descriptions / Exercise 5-6 Playing Out Character Descriptions / Animal Imagery / Exercise 5-7 Animate (Animalize) Your Character / Intrinsic and Reciprocal Characterization / Exercise 5-8 Character Greetings
Lesson 6: More God
Exercise 6-1 A Stanza, by God
Lesson 7: The Battle of the Sexes: Noah and His Wife
Scene 7-1 Noah and His Wife
Lesson 8: Performance: Being Public in Private
Exercise 8-1 A Performative God / Performative Aspects of Dramatic Scenes / Exercise 8-2 Performing Your Greetings and Insults / The Audience in the Theatre / Scene 8-3 The Performative Context: Oedipus and Creon / Exercise 8-4 The Performative Context: Shakespeare / Exercise 8-5 the Performative Context: Chekhov
Part II. The Scenes
Lesson 9: Greek Tragedy
Scene 9-1 Politician vs. Prophet: Oedipus and Teiresias / More Greek Scenes /
Lesson 10: The Commedia
Commedia Styles and Scripts / Commedia Performances / Commedia and Renaissance Ideals / Acting Commedia: Machiavelli's Clizia / Exercise 10-1 Commedia: Direct Address / Commedia Lazzi / Scene 10-1 Nicomaco and Sofronia / Stock Characters / More Commedia Scenes
Lesson 11: Shakespeare and the Elizabethan Theatre
Scene 11-1 The Past Made Vivid: Richard and Ann / Scansion / Verse Variations / Playing the Verse / Rhetoric / Playing and Building the Rhetoric / The Public Environment / Scene 11-2 A Merry War: Beatrice and Benedick / Shakespeare and Commedia / More Elizabethan Scenes
Lesson 12: The Theatre of Molière
Scene 12-1 Physical Comedy / Jourdain and the Philosopher / Molière and Commedia / Costume and Deportment / French Verse / Scene 12-2 Quarreling in Couplets: Alceste and Celimène /
Lesson 13: Restoration Comedy
Exercise 13-1 Restoration Speeches / Scene 13-1 Sexual Banter/
Lesson 14: The Belle Epoque
George Bernard Shaw / Exercise 14-1 Shaw's Political Speeches /
Anton Chekhov / Scene 14-1 Chekhov's Symphony of Feeling
Oscar Wilde / Scene 14-2 Wilde's Comedy of (Male) Manners / Exercise 14-3 Wilde's Comedy of (Female) Manners
Lesson 15: The Hypertheatre
Eugene Ionesco: Theater of the Absurd / Exercise 15-1 Theatre of Absurd: Mr. and Mrs. Martin
Bertolt Brecht: Theater of Distancing / Scene 15-2 Distancing in Szechuan / Verfremdung in Everyday Life
Lesson 16: Contemporary Styles
Clashing Cultures / 16-1 Prior and Harper / Clashing Subcultures / 16-2 Boy Willie and Grace / Clashing Professions / 16-3 Vivian and Jason / Solo performer, Multiple Roles
L'Envoi
A Glossary of Acting Terms
Index
A Basic Method / "Get Your Character's GOTE" / Exercise 8-1 The GOTEsheet
PART III. THE ACTOR'S TASK
Lesson 9: Preparing a Role
Finding Your Role / Finding Your "Character" / Editing a Scene / Memorization Methods / Cues / Studying the Part / Exercise 9-1 The Gentleman Caller I
Lesson 10: Rehearsing
Rehearsals / Undirected Rehearsals / Rehearsal Alternatives / Exercise 10-1 The Gentleman Caller II
Lesson 11: Staging the Scene
Stage Directions / Creating the Locale / Movement and Stage Business / Interesting Positions / Reaching the Audience / Exercise 11-1 Setting the Stage
Lesson 12: Choices
The Need for Choices / Good Choices / Exercise 12-1 Bold Choices
Lesson 13: Performing
Stage Fright / Classroom Performance / Play for Results--In the Other Character!
Lesson 14: Evaluation and Improvement
Helpful Criticism / Reworking / Exercise 14-1 Scene Presentation
PART IV. THE ACTOR'S INSTRUMENT
Lesson 15: The Actor's Voice
Breathing / Exercise 15-1 Breathing from the Abdomen / Phonation: Making Sounds / Exercise 15-2 Sounding / Resonance / Exercise 15-3 Exploring Resonance / Pitch / Exercise 15-4 Exploring Your Pitch Range / A Stageworthy Voice / Exercise 15-5 Speaking with Resonance
Lesson 16: Stage Speech
Good Diction / Speech Sounds / Exercise 16-1 Vowels / Exercise 16-2 Repeating Syllables / Exercise 16-3 Consonants / Exercise 16-4 Speeches
Lesson 17: Using Your Voice
Liberation / Exercise 17-1 Rude Chants / Exercise 17-2 Rude Cheering / Exercise 17-3 Fancy Talk / Exercise 17-4 Address a Group / Purposefulness / Exercise 17-5 Adding Purpose
Lesson 18: The Actor's Body
Agility / Exercise 18-1 Fast Warm-Up / Alignment / Exercise 18-2 Improving Alignment / Walking / Exercise 18-3 Sixteen Walks / Exercise 18-4 Walk and Talk / Sitting and Standing / Exercise 18-5 Walk, Talk, Sit / Velocity: Accelerating, Decelerating, and Constant / Exercise 18-6 Acceleration/Deceleration / Counterpoise / Exercise 18-7 Contraposto / Exercise 18-8 Contraction/Extension / The Dynamics of Effort / Exercise 18-9 Distinct Movements / Exercise 18-10 To Be or Not to Be / Exercise 18-11 Walking and Kicking
Lesson 19: Voice and Body Integration
Coordination / Exercise 19-1 Commands / Exercise 19-2 Speeches with Business / Exercise 19-3 Physical Punctuation / Exercise 19-4 Physical Rhythms / Exercise 19-5 Verbal Rhythms / Pointing / Exercise 19-6 Pointing / Tempo / Exercise 19-7 Speech/Movement Timing / Actors with Disabilities
Lesson 20: Imagination and Creativity
Imagination / Creativity / Creativity and Imagination / Using Your Fantasies / Exercise 20-1 Cold/Hot / Exercise 20-2 Age Regression/Advancement / Exercise 20-3 Facing an Imagined Death / Exercise 20-4 Facing Love /
Lesson 21: Emotion and Acting Theory
Exercise 21-1 Playing (with) Real Emotion I / Self-Consciousness / Exercise 21-2 Playing (with) Real Emotion II / Conclusion
PART V. THE ACTOR'S TECHNIQUE
Lesson 22: Phrasing
Diction / Open-Mouthed Speaking / Exercise 22-1 A Acting with Your Teeth / Exercise 22-1 B / Exercise 22-1 C / Developing Diction / Exercise 22-2 Repeated Sentences / Exercise 22-3 Shaw Speech / Emphasis / Exercise 22-4 Change of Emphasis / Exercise 22-5 Punctuate with Emphasis / Inflection / Exercise 22-6 Inflections / Phrasing
Lesson 23: Attack
The First Word / Physical Attack / Turn-Taking / Exercise 23-1 Turn-Taking Dialog / Preparing Strong Attacks / Exercise 23-2 Action Cues
Lesson 24: Follow-Through
The Hook / Questions as Questions / Statements as Questions / Exercise
24-1 Making Questions / Statements as Statements / Exercise 24-2 Argument-Enders / Trail-offs
Lesson 25: Line Linkage
Analyzing Dialog / Rising End-Inflections / Falling End-Inflections / Attack Inflections / Pauses / Long Speeches / Exercise 25-1 Line Linking / Exercise 25-2 The Long Speech / Line Linking in Practice
Lesson 26: Scene Structure
Breaking Down a Script / Choosing a Scene to Do in Class / Structural Characteristics / Transitions / Scene Breakdown / Exercise 26-1 Scene Structure in Action
Lesson 27: Building a Scene
Building and Topping / Exercise 27-1 Standard Build I / Exercise 27-2 Standard Build II / Exercise 27-3 Standard Build III / Cutting Back / Getting on Top / Pacing a Build / Complex Builds / Exercise 27-4 I Detest Monday / Exercise 27-5 I Detest January / Exercise 27-6 Come Here / Exercise 27-7 Building Molière
Lesson 28: Creating a Monologue
Going It Alone / The Monologue to Someone Else / The Soliloquy / Playing a Monologue or Soliloquy / Exercise 28-1 Prepare a Monologue /
L'Envoi
ACTING TWO
Introduction
Terminology: Style, Character, and performance / Acting Two's Structure / A Word About Gender /
Part I. Extensions of Yourself
Lesson 1: Style
Exercise 1-1 Baby Talk / Exercise 1-2 Baby Moves / Lesson 2: Stylized Exchanges
Exercise 2-1 Pig Latin / Exercise 2-2 Speaking in (Foreign) Tongues / Exercise 2-3 Contemporary Greetings / Exercise 2-4 Making Elizabethan Greetings / Exercise 2-5 Ad-Libbing Elizabethan Greetings / Exercise 2-6 Ad-Libbing Elizabethan Insults / Exercise 2-7 Hamlet's Greeting to the Players
Lesson 3: Roses Are Red
Rhyme and Verse / Exercise 3-1 Roses Are Red / Exercise 3-2 Roses Are Redder--Take One / Eye Contact--And Looking Elsewhere / Exercise 3-3 Roses Are Redder--Take Two / Exercise 3-4 Roses Are Redder--Take Three / Thinking Your Character's Thoughts / Exercise 3-5 Roses Are Redder--Take Four / Playing the Play
Lesson 4: Playing God
Exercise 4-1 Playing God / Playing a Character
Lesson 5: Characterization
Exercise 5-1 Reciprocal Characterization: Richard and Hastings / Exercise 5-2 Intrinsic Characterization: Richard and Hastings / Intrinsic Characterizations: Extensions and Stereotypes / Centering / Exercise 5-3 Centering / Character Postures and Walks / Exercise 5-4 Character Walks / Character Voices / Exercise 5-5 Finding Your Voices / Character Descriptions / Exercise 5-6 Playing Out Character Descriptions / Animal Imagery / Exercise 5-7 Animate (Animalize) Your Character / Intrinsic and Reciprocal Characterization / Exercise 5-8 Character Greetings
Lesson 6: More God
Exercise 6-1 A Stanza, by God
Lesson 7: The Battle of the Sexes: Noah and His Wife
Scene 7-1 Noah and His Wife
Lesson 8: Performance: Being Public in Private
Exercise 8-1 A Performative God / Performative Aspects of Dramatic Scenes / Exercise 8-2 Performing Your Greetings and Insults / The Audience in the Theatre / Scene 8-3 The Performative Context: Oedipus and Creon / Exercise 8-4 The Performative Context: Shakespeare / Exercise 8-5 the Performative Context: Chekhov
Part II. The Scenes
Lesson 9: Greek Tragedy
Scene 9-1 Politician vs. Prophet: Oedipus and Teiresias / More Greek Scenes /
Lesson 10: The Commedia
Commedia Styles and Scripts / Commedia Performances / Commedia and Renaissance Ideals / Acting Commedia: Machiavelli's Clizia / Exercise 10-1 Commedia: Direct Address / Commedia Lazzi / Scene 10-1 Nicomaco and Sofronia / Stock Characters / More Commedia Scenes
Lesson 11: Shakespeare and the Elizabethan Theatre
Scene 11-1 The Past Made Vivid: Richard and Ann / Scansion / Verse Variations / Playing the Verse / Rhetoric / Playing and Building the Rhetoric / The Public Environment / Scene 11-2 A Merry War: Beatrice and Benedick / Shakespeare and Commedia / More Elizabethan Scenes
Lesson 12: The Theatre of Molière
Scene 12-1 Physical Comedy / Jourdain and the Philosopher / Molière and Commedia / Costume and Deportment / French Verse / Scene 12-2 Quarreling in Couplets: Alceste and Celimène /
Lesson 13: Restoration Comedy
Exercise 13-1 Restoration Speeches / Scene 13-1 Sexual Banter/
Lesson 14: The Belle Epoque
George Bernard Shaw / Exercise 14-1 Shaw's Political Speeches /
Anton Chekhov / Scene 14-1 Chekhov's Symphony of Feeling
Oscar Wilde / Scene 14-2 Wilde's Comedy of (Male) Manners / Exercise 14-3 Wilde's Comedy of (Female) Manners
Lesson 15: The Hypertheatre
Eugene Ionesco: Theater of the Absurd / Exercise 15-1 Theatre of Absurd: Mr. and Mrs. Martin
Bertolt Brecht: Theater of Distancing / Scene 15-2 Distancing in Szechuan / Verfremdung in Everyday Life
Lesson 16: Contemporary Styles
Clashing Cultures / 16-1 Prior and Harper / Clashing Subcultures / 16-2 Boy Willie and Grace / Clashing Professions / 16-3 Vivian and Jason / Solo performer, Multiple Roles
L'Envoi
A Glossary of Acting Terms
Index
Lesson 9: Preparing a Role
Finding Your Role / Finding Your "Character" / Editing a Scene / Memorization Methods / Cues / Studying the Part / Exercise 9-1 The Gentleman Caller I
Lesson 10: Rehearsing
Rehearsals / Undirected Rehearsals / Rehearsal Alternatives / Exercise 10-1 The Gentleman Caller II
Lesson 11: Staging the Scene
Stage Directions / Creating the Locale / Movement and Stage Business / Interesting Positions / Reaching the Audience / Exercise 11-1 Setting the Stage
Lesson 12: Choices
The Need for Choices / Good Choices / Exercise 12-1 Bold Choices
Lesson 13: Performing
Stage Fright / Classroom Performance / Play for Results--In the Other Character!
Lesson 14: Evaluation and Improvement
Helpful Criticism / Reworking / Exercise 14-1 Scene Presentation
PART IV. THE ACTOR'S INSTRUMENT
Lesson 15: The Actor's Voice
Breathing / Exercise 15-1 Breathing from the Abdomen / Phonation: Making Sounds / Exercise 15-2 Sounding / Resonance / Exercise 15-3 Exploring Resonance / Pitch / Exercise 15-4 Exploring Your Pitch Range / A Stageworthy Voice / Exercise 15-5 Speaking with Resonance
Lesson 16: Stage Speech
Good Diction / Speech Sounds / Exercise 16-1 Vowels / Exercise 16-2 Repeating Syllables / Exercise 16-3 Consonants / Exercise 16-4 Speeches
Lesson 17: Using Your Voice
Liberation / Exercise 17-1 Rude Chants / Exercise 17-2 Rude Cheering / Exercise 17-3 Fancy Talk / Exercise 17-4 Address a Group / Purposefulness / Exercise 17-5 Adding Purpose
Lesson 18: The Actor's Body
Agility / Exercise 18-1 Fast Warm-Up / Alignment / Exercise 18-2 Improving Alignment / Walking / Exercise 18-3 Sixteen Walks / Exercise 18-4 Walk and Talk / Sitting and Standing / Exercise 18-5 Walk, Talk, Sit / Velocity: Accelerating, Decelerating, and Constant / Exercise 18-6 Acceleration/Deceleration / Counterpoise / Exercise 18-7 Contraposto / Exercise 18-8 Contraction/Extension / The Dynamics of Effort / Exercise 18-9 Distinct Movements / Exercise 18-10 To Be or Not to Be / Exercise 18-11 Walking and Kicking
Lesson 19: Voice and Body Integration
Coordination / Exercise 19-1 Commands / Exercise 19-2 Speeches with Business / Exercise 19-3 Physical Punctuation / Exercise 19-4 Physical Rhythms / Exercise 19-5 Verbal Rhythms / Pointing / Exercise 19-6 Pointing / Tempo / Exercise 19-7 Speech/Movement Timing / Actors with Disabilities
Lesson 20: Imagination and Creativity
Imagination / Creativity / Creativity and Imagination / Using Your Fantasies / Exercise 20-1 Cold/Hot / Exercise 20-2 Age Regression/Advancement / Exercise 20-3 Facing an Imagined Death / Exercise 20-4 Facing Love /
Lesson 21: Emotion and Acting Theory
Exercise 21-1 Playing (with) Real Emotion I / Self-Consciousness / Exercise 21-2 Playing (with) Real Emotion II / Conclusion
PART V. THE ACTOR'S TECHNIQUE
Lesson 22: Phrasing
Diction / Open-Mouthed Speaking / Exercise 22-1 A Acting with Your Teeth / Exercise 22-1 B / Exercise 22-1 C / Developing Diction / Exercise 22-2 Repeated Sentences / Exercise 22-3 Shaw Speech / Emphasis / Exercise 22-4 Change of Emphasis / Exercise 22-5 Punctuate with Emphasis / Inflection / Exercise 22-6 Inflections / Phrasing
Lesson 23: Attack
The First Word / Physical Attack / Turn-Taking / Exercise 23-1 Turn-Taking Dialog / Preparing Strong Attacks / Exercise 23-2 Action Cues
Lesson 24: Follow-Through
The Hook / Questions as Questions / Statements as Questions / Exercise
24-1 Making Questions / Statements as Statements / Exercise 24-2 Argument-Enders / Trail-offs
Lesson 25: Line Linkage
Analyzing Dialog / Rising End-Inflections / Falling End-Inflections / Attack Inflections / Pauses / Long Speeches / Exercise 25-1 Line Linking / Exercise 25-2 The Long Speech / Line Linking in Practice
Lesson 26: Scene Structure
Breaking Down a Script / Choosing a Scene to Do in Class / Structural Characteristics / Transitions / Scene Breakdown / Exercise 26-1 Scene Structure in Action
Lesson 27: Building a Scene
Building and Topping / Exercise 27-1 Standard Build I / Exercise 27-2 Standard Build II / Exercise 27-3 Standard Build III / Cutting Back / Getting on Top / Pacing a Build / Complex Builds / Exercise 27-4 I Detest Monday / Exercise 27-5 I Detest January / Exercise 27-6 Come Here / Exercise 27-7 Building Molière
Lesson 28: Creating a Monologue
Going It Alone / The Monologue to Someone Else / The Soliloquy / Playing a Monologue or Soliloquy / Exercise 28-1 Prepare a Monologue /
L'Envoi
ACTING TWO
Introduction
Terminology: Style, Character, and performance / Acting Two's Structure / A Word About Gender /
Part I. Extensions of Yourself
Lesson 1: Style
Exercise 1-1 Baby Talk / Exercise 1-2 Baby Moves / Lesson 2: Stylized Exchanges
Exercise 2-1 Pig Latin / Exercise 2-2 Speaking in (Foreign) Tongues / Exercise 2-3 Contemporary Greetings / Exercise 2-4 Making Elizabethan Greetings / Exercise 2-5 Ad-Libbing Elizabethan Greetings / Exercise 2-6 Ad-Libbing Elizabethan Insults / Exercise 2-7 Hamlet's Greeting to the Players
Lesson 3: Roses Are Red
Rhyme and Verse / Exercise 3-1 Roses Are Red / Exercise 3-2 Roses Are Redder--Take One / Eye Contact--And Looking Elsewhere / Exercise 3-3 Roses Are Redder--Take Two / Exercise 3-4 Roses Are Redder--Take Three / Thinking Your Character's Thoughts / Exercise 3-5 Roses Are Redder--Take Four / Playing the Play
Lesson 4: Playing God
Exercise 4-1 Playing God / Playing a Character
Lesson 5: Characterization
Exercise 5-1 Reciprocal Characterization: Richard and Hastings / Exercise 5-2 Intrinsic Characterization: Richard and Hastings / Intrinsic Characterizations: Extensions and Stereotypes / Centering / Exercise 5-3 Centering / Character Postures and Walks / Exercise 5-4 Character Walks / Character Voices / Exercise 5-5 Finding Your Voices / Character Descriptions / Exercise 5-6 Playing Out Character Descriptions / Animal Imagery / Exercise 5-7 Animate (Animalize) Your Character / Intrinsic and Reciprocal Characterization / Exercise 5-8 Character Greetings
Lesson 6: More God
Exercise 6-1 A Stanza, by God
Lesson 7: The Battle of the Sexes: Noah and His Wife
Scene 7-1 Noah and His Wife
Lesson 8: Performance: Being Public in Private
Exercise 8-1 A Performative God / Performative Aspects of Dramatic Scenes / Exercise 8-2 Performing Your Greetings and Insults / The Audience in the Theatre / Scene 8-3 The Performative Context: Oedipus and Creon / Exercise 8-4 The Performative Context: Shakespeare / Exercise 8-5 the Performative Context: Chekhov
Part II. The Scenes
Lesson 9: Greek Tragedy
Scene 9-1 Politician vs. Prophet: Oedipus and Teiresias / More Greek Scenes /
Lesson 10: The Commedia
Commedia Styles and Scripts / Commedia Performances / Commedia and Renaissance Ideals / Acting Commedia: Machiavelli's Clizia / Exercise 10-1 Commedia: Direct Address / Commedia Lazzi / Scene 10-1 Nicomaco and Sofronia / Stock Characters / More Commedia Scenes
Lesson 11: Shakespeare and the Elizabethan Theatre
Scene 11-1 The Past Made Vivid: Richard and Ann / Scansion / Verse Variations / Playing the Verse / Rhetoric / Playing and Building the Rhetoric / The Public Environment / Scene 11-2 A Merry War: Beatrice and Benedick / Shakespeare and Commedia / More Elizabethan Scenes
Lesson 12: The Theatre of Molière
Scene 12-1 Physical Comedy / Jourdain and the Philosopher / Molière and Commedia / Costume and Deportment / French Verse / Scene 12-2 Quarreling in Couplets: Alceste and Celimène /
Lesson 13: Restoration Comedy
Exercise 13-1 Restoration Speeches / Scene 13-1 Sexual Banter/
Lesson 14: The Belle Epoque
George Bernard Shaw / Exercise 14-1 Shaw's Political Speeches /
Anton Chekhov / Scene 14-1 Chekhov's Symphony of Feeling
Oscar Wilde / Scene 14-2 Wilde's Comedy of (Male) Manners / Exercise 14-3 Wilde's Comedy of (Female) Manners
Lesson 15: The Hypertheatre
Eugene Ionesco: Theater of the Absurd / Exercise 15-1 Theatre of Absurd: Mr. and Mrs. Martin
Bertolt Brecht: Theater of Distancing / Scene 15-2 Distancing in Szechuan / Verfremdung in Everyday Life
Lesson 16: Contemporary Styles
Clashing Cultures / 16-1 Prior and Harper / Clashing Subcultures / 16-2 Boy Willie and Grace / Clashing Professions / 16-3 Vivian and Jason / Solo performer, Multiple Roles
L'Envoi
A Glossary of Acting Terms
Index
Lesson 10: Rehearsing
Rehearsals / Undirected Rehearsals / Rehearsal Alternatives / Exercise 10-1 The Gentleman Caller II
Lesson 11: Staging the Scene
Stage Directions / Creating the Locale / Movement and Stage Business / Interesting Positions / Reaching the Audience / Exercise 11-1 Setting the Stage
Lesson 12: Choices
The Need for Choices / Good Choices / Exercise 12-1 Bold Choices
Lesson 13: Performing
Stage Fright / Classroom Performance / Play for Results--In the Other Character!
Lesson 14: Evaluation and Improvement
Helpful Criticism / Reworking / Exercise 14-1 Scene Presentation
PART IV. THE ACTOR'S INSTRUMENT
Lesson 15: The Actor's Voice
Breathing / Exercise 15-1 Breathing from the Abdomen / Phonation: Making Sounds / Exercise 15-2 Sounding / Resonance / Exercise 15-3 Exploring Resonance / Pitch / Exercise 15-4 Exploring Your Pitch Range / A Stageworthy Voice / Exercise 15-5 Speaking with Resonance
Lesson 16: Stage Speech
Good Diction / Speech Sounds / Exercise 16-1 Vowels / Exercise 16-2 Repeating Syllables / Exercise 16-3 Consonants / Exercise 16-4 Speeches
Lesson 17: Using Your Voice
Liberation / Exercise 17-1 Rude Chants / Exercise 17-2 Rude Cheering / Exercise 17-3 Fancy Talk / Exercise 17-4 Address a Group / Purposefulness / Exercise 17-5 Adding Purpose
Lesson 18: The Actor's Body
Agility / Exercise 18-1 Fast Warm-Up / Alignment / Exercise 18-2 Improving Alignment / Walking / Exercise 18-3 Sixteen Walks / Exercise 18-4 Walk and Talk / Sitting and Standing / Exercise 18-5 Walk, Talk, Sit / Velocity: Accelerating, Decelerating, and Constant / Exercise 18-6 Acceleration/Deceleration / Counterpoise / Exercise 18-7 Contraposto / Exercise 18-8 Contraction/Extension / The Dynamics of Effort / Exercise 18-9 Distinct Movements / Exercise 18-10 To Be or Not to Be / Exercise 18-11 Walking and Kicking
Lesson 19: Voice and Body Integration
Coordination / Exercise 19-1 Commands / Exercise 19-2 Speeches with Business / Exercise 19-3 Physical Punctuation / Exercise 19-4 Physical Rhythms / Exercise 19-5 Verbal Rhythms / Pointing / Exercise 19-6 Pointing / Tempo / Exercise 19-7 Speech/Movement Timing / Actors with Disabilities
Lesson 20: Imagination and Creativity
Imagination / Creativity / Creativity and Imagination / Using Your Fantasies / Exercise 20-1 Cold/Hot / Exercise 20-2 Age Regression/Advancement / Exercise 20-3 Facing an Imagined Death / Exercise 20-4 Facing Love /
Lesson 21: Emotion and Acting Theory
Exercise 21-1 Playing (with) Real Emotion I / Self-Consciousness / Exercise 21-2 Playing (with) Real Emotion II / Conclusion
PART V. THE ACTOR'S TECHNIQUE
Lesson 22: Phrasing
Diction / Open-Mouthed Speaking / Exercise 22-1 A Acting with Your Teeth / Exercise 22-1 B / Exercise 22-1 C / Developing Diction / Exercise 22-2 Repeated Sentences / Exercise 22-3 Shaw Speech / Emphasis / Exercise 22-4 Change of Emphasis / Exercise 22-5 Punctuate with Emphasis / Inflection / Exercise 22-6 Inflections / Phrasing
Lesson 23: Attack
The First Word / Physical Attack / Turn-Taking / Exercise 23-1 Turn-Taking Dialog / Preparing Strong Attacks / Exercise 23-2 Action Cues
Lesson 24: Follow-Through
The Hook / Questions as Questions / Statements as Questions / Exercise
24-1 Making Questions / Statements as Statements / Exercise 24-2 Argument-Enders / Trail-offs
Lesson 25: Line Linkage
Analyzing Dialog / Rising End-Inflections / Falling End-Inflections / Attack Inflections / Pauses / Long Speeches / Exercise 25-1 Line Linking / Exercise 25-2 The Long Speech / Line Linking in Practice
Lesson 26: Scene Structure
Breaking Down a Script / Choosing a Scene to Do in Class / Structural Characteristics / Transitions / Scene Breakdown / Exercise 26-1 Scene Structure in Action
Lesson 27: Building a Scene
Building and Topping / Exercise 27-1 Standard Build I / Exercise 27-2 Standard Build II / Exercise 27-3 Standard Build III / Cutting Back / Getting on Top / Pacing a Build / Complex Builds / Exercise 27-4 I Detest Monday / Exercise 27-5 I Detest January / Exercise 27-6 Come Here / Exercise 27-7 Building Molière
Lesson 28: Creating a Monologue
Going It Alone / The Monologue to Someone Else / The Soliloquy / Playing a Monologue or Soliloquy / Exercise 28-1 Prepare a Monologue /
L'Envoi
ACTING TWO
Introduction
Terminology: Style, Character, and performance / Acting Two's Structure / A Word About Gender /
Part I. Extensions of Yourself
Lesson 1: Style
Exercise 1-1 Baby Talk / Exercise 1-2 Baby Moves / Lesson 2: Stylized Exchanges
Exercise 2-1 Pig Latin / Exercise 2-2 Speaking in (Foreign) Tongues / Exercise 2-3 Contemporary Greetings / Exercise 2-4 Making Elizabethan Greetings / Exercise 2-5 Ad-Libbing Elizabethan Greetings / Exercise 2-6 Ad-Libbing Elizabethan Insults / Exercise 2-7 Hamlet's Greeting to the Players
Lesson 3: Roses Are Red
Rhyme and Verse / Exercise 3-1 Roses Are Red / Exercise 3-2 Roses Are Redder--Take One / Eye Contact--And Looking Elsewhere / Exercise 3-3 Roses Are Redder--Take Two / Exercise 3-4 Roses Are Redder--Take Three / Thinking Your Character's Thoughts / Exercise 3-5 Roses Are Redder--Take Four / Playing the Play
Lesson 4: Playing God
Exercise 4-1 Playing God / Playing a Character
Lesson 5: Characterization
Exercise 5-1 Reciprocal Characterization: Richard and Hastings / Exercise 5-2 Intrinsic Characterization: Richard and Hastings / Intrinsic Characterizations: Extensions and Stereotypes / Centering / Exercise 5-3 Centering / Character Postures and Walks / Exercise 5-4 Character Walks / Character Voices / Exercise 5-5 Finding Your Voices / Character Descriptions / Exercise 5-6 Playing Out Character Descriptions / Animal Imagery / Exercise 5-7 Animate (Animalize) Your Character / Intrinsic and Reciprocal Characterization / Exercise 5-8 Character Greetings
Lesson 6: More God
Exercise 6-1 A Stanza, by God
Lesson 7: The Battle of the Sexes: Noah and His Wife
Scene 7-1 Noah and His Wife
Lesson 8: Performance: Being Public in Private
Exercise 8-1 A Performative God / Performative Aspects of Dramatic Scenes / Exercise 8-2 Performing Your Greetings and Insults / The Audience in the Theatre / Scene 8-3 The Performative Context: Oedipus and Creon / Exercise 8-4 The Performative Context: Shakespeare / Exercise 8-5 the Performative Context: Chekhov
Part II. The Scenes
Lesson 9: Greek Tragedy
Scene 9-1 Politician vs. Prophet: Oedipus and Teiresias / More Greek Scenes /
Lesson 10: The Commedia
Commedia Styles and Scripts / Commedia Performances / Commedia and Renaissance Ideals / Acting Commedia: Machiavelli's Clizia / Exercise 10-1 Commedia: Direct Address / Commedia Lazzi / Scene 10-1 Nicomaco and Sofronia / Stock Characters / More Commedia Scenes
Lesson 11: Shakespeare and the Elizabethan Theatre
Scene 11-1 The Past Made Vivid: Richard and Ann / Scansion / Verse Variations / Playing the Verse / Rhetoric / Playing and Building the Rhetoric / The Public Environment / Scene 11-2 A Merry War: Beatrice and Benedick / Shakespeare and Commedia / More Elizabethan Scenes
Lesson 12: The Theatre of Molière
Scene 12-1 Physical Comedy / Jourdain and the Philosopher / Molière and Commedia / Costume and Deportment / French Verse / Scene 12-2 Quarreling in Couplets: Alceste and Celimène /
Lesson 13: Restoration Comedy
Exercise 13-1 Restoration Speeches / Scene 13-1 Sexual Banter/
Lesson 14: The Belle Epoque
George Bernard Shaw / Exercise 14-1 Shaw's Political Speeches /
Anton Chekhov / Scene 14-1 Chekhov's Symphony of Feeling
Oscar Wilde / Scene 14-2 Wilde's Comedy of (Male) Manners / Exercise 14-3 Wilde's Comedy of (Female) Manners
Lesson 15: The Hypertheatre
Eugene Ionesco: Theater of the Absurd / Exercise 15-1 Theatre of Absurd: Mr. and Mrs. Martin
Bertolt Brecht: Theater of Distancing / Scene 15-2 Distancing in Szechuan / Verfremdung in Everyday Life
Lesson 16: Contemporary Styles
Clashing Cultures / 16-1 Prior and Harper / Clashing Subcultures / 16-2 Boy Willie and Grace / Clashing Professions / 16-3 Vivian and Jason / Solo performer, Multiple Roles
L'Envoi
A Glossary of Acting Terms
Index
Lesson 11: Staging the Scene
Stage Directions / Creating the Locale / Movement and Stage Business / Interesting Positions / Reaching the Audience / Exercise 11-1 Setting the Stage
Lesson 12: Choices
The Need for Choices / Good Choices / Exercise 12-1 Bold Choices
Lesson 13: Performing
Stage Fright / Classroom Performance / Play for Results--In the Other Character!
Lesson 14: Evaluation and Improvement
Helpful Criticism / Reworking / Exercise 14-1 Scene Presentation
PART IV. THE ACTOR'S INSTRUMENT
Lesson 15: The Actor's Voice
Breathing / Exercise 15-1 Breathing from the Abdomen / Phonation: Making Sounds / Exercise 15-2 Sounding / Resonance / Exercise 15-3 Exploring Resonance / Pitch / Exercise 15-4 Exploring Your Pitch Range / A Stageworthy Voice / Exercise 15-5 Speaking with Resonance
Lesson 16: Stage Speech
Good Diction / Speech Sounds / Exercise 16-1 Vowels / Exercise 16-2 Repeating Syllables / Exercise 16-3 Consonants / Exercise 16-4 Speeches
Lesson 17: Using Your Voice
Liberation / Exercise 17-1 Rude Chants / Exercise 17-2 Rude Cheering / Exercise 17-3 Fancy Talk / Exercise 17-4 Address a Group / Purposefulness / Exercise 17-5 Adding Purpose
Lesson 18: The Actor's Body
Agility / Exercise 18-1 Fast Warm-Up / Alignment / Exercise 18-2 Improving Alignment / Walking / Exercise 18-3 Sixteen Walks / Exercise 18-4 Walk and Talk / Sitting and Standing / Exercise 18-5 Walk, Talk, Sit / Velocity: Accelerating, Decelerating, and Constant / Exercise 18-6 Acceleration/Deceleration / Counterpoise / Exercise 18-7 Contraposto / Exercise 18-8 Contraction/Extension / The Dynamics of Effort / Exercise 18-9 Distinct Movements / Exercise 18-10 To Be or Not to Be / Exercise 18-11 Walking and Kicking
Lesson 19: Voice and Body Integration
Coordination / Exercise 19-1 Commands / Exercise 19-2 Speeches with Business / Exercise 19-3 Physical Punctuation / Exercise 19-4 Physical Rhythms / Exercise 19-5 Verbal Rhythms / Pointing / Exercise 19-6 Pointing / Tempo / Exercise 19-7 Speech/Movement Timing / Actors with Disabilities
Lesson 20: Imagination and Creativity
Imagination / Creativity / Creativity and Imagination / Using Your Fantasies / Exercise 20-1 Cold/Hot / Exercise 20-2 Age Regression/Advancement / Exercise 20-3 Facing an Imagined Death / Exercise 20-4 Facing Love /
Lesson 21: Emotion and Acting Theory
Exercise 21-1 Playing (with) Real Emotion I / Self-Consciousness / Exercise 21-2 Playing (with) Real Emotion II / Conclusion
PART V. THE ACTOR'S TECHNIQUE
Lesson 22: Phrasing
Diction / Open-Mouthed Speaking / Exercise 22-1 A Acting with Your Teeth / Exercise 22-1 B / Exercise 22-1 C / Developing Diction / Exercise 22-2 Repeated Sentences / Exercise 22-3 Shaw Speech / Emphasis / Exercise 22-4 Change of Emphasis / Exercise 22-5 Punctuate with Emphasis / Inflection / Exercise 22-6 Inflections / Phrasing
Lesson 23: Attack
The First Word / Physical Attack / Turn-Taking / Exercise 23-1 Turn-Taking Dialog / Preparing Strong Attacks / Exercise 23-2 Action Cues
Lesson 24: Follow-Through
The Hook / Questions as Questions / Statements as Questions / Exercise
24-1 Making Questions / Statements as Statements / Exercise 24-2 Argument-Enders / Trail-offs
Lesson 25: Line Linkage
Analyzing Dialog / Rising End-Inflections / Falling End-Inflections / Attack Inflections / Pauses / Long Speeches / Exercise 25-1 Line Linking / Exercise 25-2 The Long Speech / Line Linking in Practice
Lesson 26: Scene Structure
Breaking Down a Script / Choosing a Scene to Do in Class / Structural Characteristics / Transitions / Scene Breakdown / Exercise 26-1 Scene Structure in Action
Lesson 27: Building a Scene
Building and Topping / Exercise 27-1 Standard Build I / Exercise 27-2 Standard Build II / Exercise 27-3 Standard Build III / Cutting Back / Getting on Top / Pacing a Build / Complex Builds / Exercise 27-4 I Detest Monday / Exercise 27-5 I Detest January / Exercise 27-6 Come Here / Exercise 27-7 Building Molière
Lesson 28: Creating a Monologue
Going It Alone / The Monologue to Someone Else / The Soliloquy / Playing a Monologue or Soliloquy / Exercise 28-1 Prepare a Monologue /
L'Envoi
ACTING TWO
Introduction
Terminology: Style, Character, and performance / Acting Two's Structure / A Word About Gender /
Part I. Extensions of Yourself
Lesson 1: Style
Exercise 1-1 Baby Talk / Exercise 1-2 Baby Moves / Lesson 2: Stylized Exchanges
Exercise 2-1 Pig Latin / Exercise 2-2 Speaking in (Foreign) Tongues / Exercise 2-3 Contemporary Greetings / Exercise 2-4 Making Elizabethan Greetings / Exercise 2-5 Ad-Libbing Elizabethan Greetings / Exercise 2-6 Ad-Libbing Elizabethan Insults / Exercise 2-7 Hamlet's Greeting to the Players
Lesson 3: Roses Are Red
Rhyme and Verse / Exercise 3-1 Roses Are Red / Exercise 3-2 Roses Are Redder--Take One / Eye Contact--And Looking Elsewhere / Exercise 3-3 Roses Are Redder--Take Two / Exercise 3-4 Roses Are Redder--Take Three / Thinking Your Character's Thoughts / Exercise 3-5 Roses Are Redder--Take Four / Playing the Play
Lesson 4: Playing God
Exercise 4-1 Playing God / Playing a Character
Lesson 5: Characterization
Exercise 5-1 Reciprocal Characterization: Richard and Hastings / Exercise 5-2 Intrinsic Characterization: Richard and Hastings / Intrinsic Characterizations: Extensions and Stereotypes / Centering / Exercise 5-3 Centering / Character Postures and Walks / Exercise 5-4 Character Walks / Character Voices / Exercise 5-5 Finding Your Voices / Character Descriptions / Exercise 5-6 Playing Out Character Descriptions / Animal Imagery / Exercise 5-7 Animate (Animalize) Your Character / Intrinsic and Reciprocal Characterization / Exercise 5-8 Character Greetings
Lesson 6: More God
Exercise 6-1 A Stanza, by God
Lesson 7: The Battle of the Sexes: Noah and His Wife
Scene 7-1 Noah and His Wife
Lesson 8: Performance: Being Public in Private
Exercise 8-1 A Performative God / Performative Aspects of Dramatic Scenes / Exercise 8-2 Performing Your Greetings and Insults / The Audience in the Theatre / Scene 8-3 The Performative Context: Oedipus and Creon / Exercise 8-4 The Performative Context: Shakespeare / Exercise 8-5 the Performative Context: Chekhov
Part II. The Scenes
Lesson 9: Greek Tragedy
Scene 9-1 Politician vs. Prophet: Oedipus and Teiresias / More Greek Scenes /
Lesson 10: The Commedia
Commedia Styles and Scripts / Commedia Performances / Commedia and Renaissance Ideals / Acting Commedia: Machiavelli's Clizia / Exercise 10-1 Commedia: Direct Address / Commedia Lazzi / Scene 10-1 Nicomaco and Sofronia / Stock Characters / More Commedia Scenes
Lesson 11: Shakespeare and the Elizabethan Theatre
Scene 11-1 The Past Made Vivid: Richard and Ann / Scansion / Verse Variations / Playing the Verse / Rhetoric / Playing and Building the Rhetoric / The Public Environment / Scene 11-2 A Merry War: Beatrice and Benedick / Shakespeare and Commedia / More Elizabethan Scenes
Lesson 12: The Theatre of Molière
Scene 12-1 Physical Comedy / Jourdain and the Philosopher / Molière and Commedia / Costume and Deportment / French Verse / Scene 12-2 Quarreling in Couplets: Alceste and Celimène /
Lesson 13: Restoration Comedy
Exercise 13-1 Restoration Speeches / Scene 13-1 Sexual Banter/
Lesson 14: The Belle Epoque
George Bernard Shaw / Exercise 14-1 Shaw's Political Speeches /
Anton Chekhov / Scene 14-1 Chekhov's Symphony of Feeling
Oscar Wilde / Scene 14-2 Wilde's Comedy of (Male) Manners / Exercise 14-3 Wilde's Comedy of (Female) Manners
Lesson 15: The Hypertheatre
Eugene Ionesco: Theater of the Absurd / Exercise 15-1 Theatre of Absurd: Mr. and Mrs. Martin
Bertolt Brecht: Theater of Distancing / Scene 15-2 Distancing in Szechuan / Verfremdung in Everyday Life
Lesson 16: Contemporary Styles
Clashing Cultures / 16-1 Prior and Harper / Clashing Subcultures / 16-2 Boy Willie and Grace / Clashing Professions / 16-3 Vivian and Jason / Solo performer, Multiple Roles
L'Envoi
A Glossary of Acting Terms
Index
Lesson 12: Choices
The Need for Choices / Good Choices / Exercise 12-1 Bold Choices
Lesson 13: Performing
Stage Fright / Classroom Performance / Play for Results--In the Other Character!
Lesson 14: Evaluation and Improvement
Helpful Criticism / Reworking / Exercise 14-1 Scene Presentation
PART IV. THE ACTOR'S INSTRUMENT
Lesson 15: The Actor's Voice
Breathing / Exercise 15-1 Breathing from the Abdomen / Phonation: Making Sounds / Exercise 15-2 Sounding / Resonance / Exercise 15-3 Exploring Resonance / Pitch / Exercise 15-4 Exploring Your Pitch Range / A Stageworthy Voice / Exercise 15-5 Speaking with Resonance
Lesson 16: Stage Speech
Good Diction / Speech Sounds / Exercise 16-1 Vowels / Exercise 16-2 Repeating Syllables / Exercise 16-3 Consonants / Exercise 16-4 Speeches
Lesson 17: Using Your Voice
Liberation / Exercise 17-1 Rude Chants / Exercise 17-2 Rude Cheering / Exercise 17-3 Fancy Talk / Exercise 17-4 Address a Group / Purposefulness / Exercise 17-5 Adding Purpose
Lesson 18: The Actor's Body
Agility / Exercise 18-1 Fast Warm-Up / Alignment / Exercise 18-2 Improving Alignment / Walking / Exercise 18-3 Sixteen Walks / Exercise 18-4 Walk and Talk / Sitting and Standing / Exercise 18-5 Walk, Talk, Sit / Velocity: Accelerating, Decelerating, and Constant / Exercise 18-6 Acceleration/Deceleration / Counterpoise / Exercise 18-7 Contraposto / Exercise 18-8 Contraction/Extension / The Dynamics of Effort / Exercise 18-9 Distinct Movements / Exercise 18-10 To Be or Not to Be / Exercise 18-11 Walking and Kicking
Lesson 19: Voice and Body Integration
Coordination / Exercise 19-1 Commands / Exercise 19-2 Speeches with Business / Exercise 19-3 Physical Punctuation / Exercise 19-4 Physical Rhythms / Exercise 19-5 Verbal Rhythms / Pointing / Exercise 19-6 Pointing / Tempo / Exercise 19-7 Speech/Movement Timing / Actors with Disabilities
Lesson 20: Imagination and Creativity
Imagination / Creativity / Creativity and Imagination / Using Your Fantasies / Exercise 20-1 Cold/Hot / Exercise 20-2 Age Regression/Advancement / Exercise 20-3 Facing an Imagined Death / Exercise 20-4 Facing Love /
Lesson 21: Emotion and Acting Theory
Exercise 21-1 Playing (with) Real Emotion I / Self-Consciousness / Exercise 21-2 Playing (with) Real Emotion II / Conclusion
PART V. THE ACTOR'S TECHNIQUE
Lesson 22: Phrasing
Diction / Open-Mouthed Speaking / Exercise 22-1 A Acting with Your Teeth / Exercise 22-1 B / Exercise 22-1 C / Developing Diction / Exercise 22-2 Repeated Sentences / Exercise 22-3 Shaw Speech / Emphasis / Exercise 22-4 Change of Emphasis / Exercise 22-5 Punctuate with Emphasis / Inflection / Exercise 22-6 Inflections / Phrasing
Lesson 23: Attack
The First Word / Physical Attack / Turn-Taking / Exercise 23-1 Turn-Taking Dialog / Preparing Strong Attacks / Exercise 23-2 Action Cues
Lesson 24: Follow-Through
The Hook / Questions as Questions / Statements as Questions / Exercise
24-1 Making Questions / Statements as Statements / Exercise 24-2 Argument-Enders / Trail-offs
Lesson 25: Line Linkage
Analyzing Dialog / Rising End-Inflections / Falling End-Inflections / Attack Inflections / Pauses / Long Speeches / Exercise 25-1 Line Linking / Exercise 25-2 The Long Speech / Line Linking in Practice
Lesson 26: Scene Structure
Breaking Down a Script / Choosing a Scene to Do in Class / Structural Characteristics / Transitions / Scene Breakdown / Exercise 26-1 Scene Structure in Action
Lesson 27: Building a Scene
Building and Topping / Exercise 27-1 Standard Build I / Exercise 27-2 Standard Build II / Exercise 27-3 Standard Build III / Cutting Back / Getting on Top / Pacing a Build / Complex Builds / Exercise 27-4 I Detest Monday / Exercise 27-5 I Detest January / Exercise 27-6 Come Here / Exercise 27-7 Building Molière
Lesson 28: Creating a Monologue
Going It Alone / The Monologue to Someone Else / The Soliloquy / Playing a Monologue or Soliloquy / Exercise 28-1 Prepare a Monologue /
L'Envoi
ACTING TWO
Introduction
Terminology: Style, Character, and performance / Acting Two's Structure / A Word About Gender /
Part I. Extensions of Yourself
Lesson 1: Style
Exercise 1-1 Baby Talk / Exercise 1-2 Baby Moves / Lesson 2: Stylized Exchanges
Exercise 2-1 Pig Latin / Exercise 2-2 Speaking in (Foreign) Tongues / Exercise 2-3 Contemporary Greetings / Exercise 2-4 Making Elizabethan Greetings / Exercise 2-5 Ad-Libbing Elizabethan Greetings / Exercise 2-6 Ad-Libbing Elizabethan Insults / Exercise 2-7 Hamlet's Greeting to the Players
Lesson 3: Roses Are Red
Rhyme and Verse / Exercise 3-1 Roses Are Red / Exercise 3-2 Roses Are Redder--Take One / Eye Contact--And Looking Elsewhere / Exercise 3-3 Roses Are Redder--Take Two / Exercise 3-4 Roses Are Redder--Take Three / Thinking Your Character's Thoughts / Exercise 3-5 Roses Are Redder--Take Four / Playing the Play
Lesson 4: Playing God
Exercise 4-1 Playing God / Playing a Character
Lesson 5: Characterization
Exercise 5-1 Reciprocal Characterization: Richard and Hastings / Exercise 5-2 Intrinsic Characterization: Richard and Hastings / Intrinsic Characterizations: Extensions and Stereotypes / Centering / Exercise 5-3 Centering / Character Postures and Walks / Exercise 5-4 Character Walks / Character Voices / Exercise 5-5 Finding Your Voices / Character Descriptions / Exercise 5-6 Playing Out Character Descriptions / Animal Imagery / Exercise 5-7 Animate (Animalize) Your Character / Intrinsic and Reciprocal Characterization / Exercise 5-8 Character Greetings
Lesson 6: More God
Exercise 6-1 A Stanza, by God
Lesson 7: The Battle of the Sexes: Noah and His Wife
Scene 7-1 Noah and His Wife
Lesson 8: Performance: Being Public in Private
Exercise 8-1 A Performative God / Performative Aspects of Dramatic Scenes / Exercise 8-2 Performing Your Greetings and Insults / The Audience in the Theatre / Scene 8-3 The Performative Context: Oedipus and Creon / Exercise 8-4 The Performative Context: Shakespeare / Exercise 8-5 the Performative Context: Chekhov
Part II. The Scenes
Lesson 9: Greek Tragedy
Scene 9-1 Politician vs. Prophet: Oedipus and Teiresias / More Greek Scenes /
Lesson 10: The Commedia
Commedia Styles and Scripts / Commedia Performances / Commedia and Renaissance Ideals / Acting Commedia: Machiavelli's Clizia / Exercise 10-1 Commedia: Direct Address / Commedia Lazzi / Scene 10-1 Nicomaco and Sofronia / Stock Characters / More Commedia Scenes
Lesson 11: Shakespeare and the Elizabethan Theatre
Scene 11-1 The Past Made Vivid: Richard and Ann / Scansion / Verse Variations / Playing the Verse / Rhetoric / Playing and Building the Rhetoric / The Public Environment / Scene 11-2 A Merry War: Beatrice and Benedick / Shakespeare and Commedia / More Elizabethan Scenes
Lesson 12: The Theatre of Molière
Scene 12-1 Physical Comedy / Jourdain and the Philosopher / Molière and Commedia / Costume and Deportment / French Verse / Scene 12-2 Quarreling in Couplets: Alceste and Celimène /
Lesson 13: Restoration Comedy
Exercise 13-1 Restoration Speeches / Scene 13-1 Sexual Banter/
Lesson 14: The Belle Epoque
George Bernard Shaw / Exercise 14-1 Shaw's Political Speeches /
Anton Chekhov / Scene 14-1 Chekhov's Symphony of Feeling
Oscar Wilde / Scene 14-2 Wilde's Comedy of (Male) Manners / Exercise 14-3 Wilde's Comedy of (Female) Manners
Lesson 15: The Hypertheatre
Eugene Ionesco: Theater of the Absurd / Exercise 15-1 Theatre of Absurd: Mr. and Mrs. Martin
Bertolt Brecht: Theater of Distancing / Scene 15-2 Distancing in Szechuan / Verfremdung in Everyday Life
Lesson 16: Contemporary Styles
Clashing Cultures / 16-1 Prior and Harper / Clashing Subcultures / 16-2 Boy Willie and Grace / Clashing Professions / 16-3 Vivian and Jason / Solo performer, Multiple Roles
L'Envoi
A Glossary of Acting Terms
Index
Lesson 13: Performing
Stage Fright / Classroom Performance / Play for Results--In the Other Character!
Lesson 14: Evaluation and Improvement
Helpful Criticism / Reworking / Exercise 14-1 Scene Presentation
PART IV. THE ACTOR'S INSTRUMENT
Lesson 15: The Actor's Voice
Breathing / Exercise 15-1 Breathing from the Abdomen / Phonation: Making Sounds / Exercise 15-2 Sounding / Resonance / Exercise 15-3 Exploring Resonance / Pitch / Exercise 15-4 Exploring Your Pitch Range / A Stageworthy Voice / Exercise 15-5 Speaking with Resonance
Lesson 16: Stage Speech
Good Diction / Speech Sounds / Exercise 16-1 Vowels / Exercise 16-2 Repeating Syllables / Exercise 16-3 Consonants / Exercise 16-4 Speeches
Lesson 17: Using Your Voice
Liberation / Exercise 17-1 Rude Chants / Exercise 17-2 Rude Cheering / Exercise 17-3 Fancy Talk / Exercise 17-4 Address a Group / Purposefulness / Exercise 17-5 Adding Purpose
Lesson 18: The Actor's Body
Agility / Exercise 18-1 Fast Warm-Up / Alignment / Exercise 18-2 Improving Alignment / Walking / Exercise 18-3 Sixteen Walks / Exercise 18-4 Walk and Talk / Sitting and Standing / Exercise 18-5 Walk, Talk, Sit / Velocity: Accelerating, Decelerating, and Constant / Exercise 18-6 Acceleration/Deceleration / Counterpoise / Exercise 18-7 Contraposto / Exercise 18-8 Contraction/Extension / The Dynamics of Effort / Exercise 18-9 Distinct Movements / Exercise 18-10 To Be or Not to Be / Exercise 18-11 Walking and Kicking
Lesson 19: Voice and Body Integration
Coordination / Exercise 19-1 Commands / Exercise 19-2 Speeches with Business / Exercise 19-3 Physical Punctuation / Exercise 19-4 Physical Rhythms / Exercise 19-5 Verbal Rhythms / Pointing / Exercise 19-6 Pointing / Tempo / Exercise 19-7 Speech/Movement Timing / Actors with Disabilities
Lesson 20: Imagination and Creativity
Imagination / Creativity / Creativity and Imagination / Using Your Fantasies / Exercise 20-1 Cold/Hot / Exercise 20-2 Age Regression/Advancement / Exercise 20-3 Facing an Imagined Death / Exercise 20-4 Facing Love /
Lesson 21: Emotion and Acting Theory
Exercise 21-1 Playing (with) Real Emotion I / Self-Consciousness / Exercise 21-2 Playing (with) Real Emotion II / Conclusion
PART V. THE ACTOR'S TECHNIQUE
Lesson 22: Phrasing
Diction / Open-Mouthed Speaking / Exercise 22-1 A Acting with Your Teeth / Exercise 22-1 B / Exercise 22-1 C / Developing Diction / Exercise 22-2 Repeated Sentences / Exercise 22-3 Shaw Speech / Emphasis / Exercise 22-4 Change of Emphasis / Exercise 22-5 Punctuate with Emphasis / Inflection / Exercise 22-6 Inflections / Phrasing
Lesson 23: Attack
The First Word / Physical Attack / Turn-Taking / Exercise 23-1 Turn-Taking Dialog / Preparing Strong Attacks / Exercise 23-2 Action Cues
Lesson 24: Follow-Through
The Hook / Questions as Questions / Statements as Questions / Exercise
24-1 Making Questions / Statements as Statements / Exercise 24-2 Argument-Enders / Trail-offs
Lesson 25: Line Linkage
Analyzing Dialog / Rising End-Inflections / Falling End-Inflections / Attack Inflections / Pauses / Long Speeches / Exercise 25-1 Line Linking / Exercise 25-2 The Long Speech / Line Linking in Practice
Lesson 26: Scene Structure
Breaking Down a Script / Choosing a Scene to Do in Class / Structural Characteristics / Transitions / Scene Breakdown / Exercise 26-1 Scene Structure in Action
Lesson 27: Building a Scene
Building and Topping / Exercise 27-1 Standard Build I / Exercise 27-2 Standard Build II / Exercise 27-3 Standard Build III / Cutting Back / Getting on Top / Pacing a Build / Complex Builds / Exercise 27-4 I Detest Monday / Exercise 27-5 I Detest January / Exercise 27-6 Come Here / Exercise 27-7 Building Molière
Lesson 28: Creating a Monologue
Going It Alone / The Monologue to Someone Else / The Soliloquy / Playing a Monologue or Soliloquy / Exercise 28-1 Prepare a Monologue /
L'Envoi
ACTING TWO
Introduction
Terminology: Style, Character, and performance / Acting Two's Structure / A Word About Gender /
Part I. Extensions of Yourself
Lesson 1: Style
Exercise 1-1 Baby Talk / Exercise 1-2 Baby Moves / Lesson 2: Stylized Exchanges
Exercise 2-1 Pig Latin / Exercise 2-2 Speaking in (Foreign) Tongues / Exercise 2-3 Contemporary Greetings / Exercise 2-4 Making Elizabethan Greetings / Exercise 2-5 Ad-Libbing Elizabethan Greetings / Exercise 2-6 Ad-Libbing Elizabethan Insults / Exercise 2-7 Hamlet's Greeting to the Players
Lesson 3: Roses Are Red
Rhyme and Verse / Exercise 3-1 Roses Are Red / Exercise 3-2 Roses Are Redder--Take One / Eye Contact--And Looking Elsewhere / Exercise 3-3 Roses Are Redder--Take Two / Exercise 3-4 Roses Are Redder--Take Three / Thinking Your Character's Thoughts / Exercise 3-5 Roses Are Redder--Take Four / Playing the Play
Lesson 4: Playing God
Exercise 4-1 Playing God / Playing a Character
Lesson 5: Characterization
Exercise 5-1 Reciprocal Characterization: Richard and Hastings / Exercise 5-2 Intrinsic Characterization: Richard and Hastings / Intrinsic Characterizations: Extensions and Stereotypes / Centering / Exercise 5-3 Centering / Character Postures and Walks / Exercise 5-4 Character Walks / Character Voices / Exercise 5-5 Finding Your Voices / Character Descriptions / Exercise 5-6 Playing Out Character Descriptions / Animal Imagery / Exercise 5-7 Animate (Animalize) Your Character / Intrinsic and Reciprocal Characterization / Exercise 5-8 Character Greetings
Lesson 6: More God
Exercise 6-1 A Stanza, by God
Lesson 7: The Battle of the Sexes: Noah and His Wife
Scene 7-1 Noah and His Wife
Lesson 8: Performance: Being Public in Private
Exercise 8-1 A Performative God / Performative Aspects of Dramatic Scenes / Exercise 8-2 Performing Your Greetings and Insults / The Audience in the Theatre / Scene 8-3 The Performative Context: Oedipus and Creon / Exercise 8-4 The Performative Context: Shakespeare / Exercise 8-5 the Performative Context: Chekhov
Part II. The Scenes
Lesson 9: Greek Tragedy
Scene 9-1 Politician vs. Prophet: Oedipus and Teiresias / More Greek Scenes /
Lesson 10: The Commedia
Commedia Styles and Scripts / Commedia Performances / Commedia and Renaissance Ideals / Acting Commedia: Machiavelli's Clizia / Exercise 10-1 Commedia: Direct Address / Commedia Lazzi / Scene 10-1 Nicomaco and Sofronia / Stock Characters / More Commedia Scenes
Lesson 11: Shakespeare and the Elizabethan Theatre
Scene 11-1 The Past Made Vivid: Richard and Ann / Scansion / Verse Variations / Playing the Verse / Rhetoric / Playing and Building the Rhetoric / The Public Environment / Scene 11-2 A Merry War: Beatrice and Benedick / Shakespeare and Commedia / More Elizabethan Scenes
Lesson 12: The Theatre of Molière
Scene 12-1 Physical Comedy / Jourdain and the Philosopher / Molière and Commedia / Costume and Deportment / French Verse / Scene 12-2 Quarreling in Couplets: Alceste and Celimène /
Lesson 13: Restoration Comedy
Exercise 13-1 Restoration Speeches / Scene 13-1 Sexual Banter/
Lesson 14: The Belle Epoque
George Bernard Shaw / Exercise 14-1 Shaw's Political Speeches /
Anton Chekhov / Scene 14-1 Chekhov's Symphony of Feeling
Oscar Wilde / Scene 14-2 Wilde's Comedy of (Male) Manners / Exercise 14-3 Wilde's Comedy of (Female) Manners
Lesson 15: The Hypertheatre
Eugene Ionesco: Theater of the Absurd / Exercise 15-1 Theatre of Absurd: Mr. and Mrs. Martin
Bertolt Brecht: Theater of Distancing / Scene 15-2 Distancing in Szechuan / Verfremdung in Everyday Life
Lesson 16: Contemporary Styles
Clashing Cultures / 16-1 Prior and Harper / Clashing Subcultures / 16-2 Boy Willie and Grace / Clashing Professions / 16-3 Vivian and Jason / Solo performer, Multiple Roles
L'Envoi
A Glossary of Acting Terms
Index
Lesson 14: Evaluation and Improvement
Helpful Criticism / Reworking / Exercise 14-1 Scene Presentation
PART IV. THE ACTOR'S INSTRUMENT
Lesson 15: The Actor's Voice
Breathing / Exercise 15-1 Breathing from the Abdomen / Phonation: Making Sounds / Exercise 15-2 Sounding / Resonance / Exercise 15-3 Exploring Resonance / Pitch / Exercise 15-4 Exploring Your Pitch Range / A Stageworthy Voice / Exercise 15-5 Speaking with Resonance
Lesson 16: Stage Speech
Good Diction / Speech Sounds / Exercise 16-1 Vowels / Exercise 16-2 Repeating Syllables / Exercise 16-3 Consonants / Exercise 16-4 Speeches
Lesson 17: Using Your Voice
Liberation / Exercise 17-1 Rude Chants / Exercise 17-2 Rude Cheering / Exercise 17-3 Fancy Talk / Exercise 17-4 Address a Group / Purposefulness / Exercise 17-5 Adding Purpose
Lesson 18: The Actor's Body
Agility / Exercise 18-1 Fast Warm-Up / Alignment / Exercise 18-2 Improving Alignment / Walking / Exercise 18-3 Sixteen Walks / Exercise 18-4 Walk and Talk / Sitting and Standing / Exercise 18-5 Walk, Talk, Sit / Velocity: Accelerating, Decelerating, and Constant / Exercise 18-6 Acceleration/Deceleration / Counterpoise / Exercise 18-7 Contraposto / Exercise 18-8 Contraction/Extension / The Dynamics of Effort / Exercise 18-9 Distinct Movements / Exercise 18-10 To Be or Not to Be / Exercise 18-11 Walking and Kicking
Lesson 19: Voice and Body Integration
Coordination / Exercise 19-1 Commands / Exercise 19-2 Speeches with Business / Exercise 19-3 Physical Punctuation / Exercise 19-4 Physical Rhythms / Exercise 19-5 Verbal Rhythms / Pointing / Exercise 19-6 Pointing / Tempo / Exercise 19-7 Speech/Movement Timing / Actors with Disabilities
Lesson 20: Imagination and Creativity
Imagination / Creativity / Creativity and Imagination / Using Your Fantasies / Exercise 20-1 Cold/Hot / Exercise 20-2 Age Regression/Advancement / Exercise 20-3 Facing an Imagined Death / Exercise 20-4 Facing Love /
Lesson 21: Emotion and Acting Theory
Exercise 21-1 Playing (with) Real Emotion I / Self-Consciousness / Exercise 21-2 Playing (with) Real Emotion II / Conclusion
PART V. THE ACTOR'S TECHNIQUE
Lesson 22: Phrasing
Diction / Open-Mouthed Speaking / Exercise 22-1 A Acting with Your Teeth / Exercise 22-1 B / Exercise 22-1 C / Developing Diction / Exercise 22-2 Repeated Sentences / Exercise 22-3 Shaw Speech / Emphasis / Exercise 22-4 Change of Emphasis / Exercise 22-5 Punctuate with Emphasis / Inflection / Exercise 22-6 Inflections / Phrasing
Lesson 23: Attack
The First Word / Physical Attack / Turn-Taking / Exercise 23-1 Turn-Taking Dialog / Preparing Strong Attacks / Exercise 23-2 Action Cues
Lesson 24: Follow-Through
The Hook / Questions as Questions / Statements as Questions / Exercise
24-1 Making Questions / Statements as Statements / Exercise 24-2 Argument-Enders / Trail-offs
Lesson 25: Line Linkage
Analyzing Dialog / Rising End-Inflections / Falling End-Inflections / Attack Inflections / Pauses / Long Speeches / Exercise 25-1 Line Linking / Exercise 25-2 The Long Speech / Line Linking in Practice
Lesson 26: Scene Structure
Breaking Down a Script / Choosing a Scene to Do in Class / Structural Characteristics / Transitions / Scene Breakdown / Exercise 26-1 Scene Structure in Action
Lesson 27: Building a Scene
Building and Topping / Exercise 27-1 Standard Build I / Exercise 27-2 Standard Build II / Exercise 27-3 Standard Build III / Cutting Back / Getting on Top / Pacing a Build / Complex Builds / Exercise 27-4 I Detest Monday / Exercise 27-5 I Detest January / Exercise 27-6 Come Here / Exercise 27-7 Building Molière
Lesson 28: Creating a Monologue
Going It Alone / The Monologue to Someone Else / The Soliloquy / Playing a Monologue or Soliloquy / Exercise 28-1 Prepare a Monologue /
L'Envoi
ACTING TWO
Introduction
Terminology: Style, Character, and performance / Acting Two's Structure / A Word About Gender /
Part I. Extensions of Yourself
Lesson 1: Style
Exercise 1-1 Baby Talk / Exercise 1-2 Baby Moves / Lesson 2: Stylized Exchanges
Exercise 2-1 Pig Latin / Exercise 2-2 Speaking in (Foreign) Tongues / Exercise 2-3 Contemporary Greetings / Exercise 2-4 Making Elizabethan Greetings / Exercise 2-5 Ad-Libbing Elizabethan Greetings / Exercise 2-6 Ad-Libbing Elizabethan Insults / Exercise 2-7 Hamlet's Greeting to the Players
Lesson 3: Roses Are Red
Rhyme and Verse / Exercise 3-1 Roses Are Red / Exercise 3-2 Roses Are Redder--Take One / Eye Contact--And Looking Elsewhere / Exercise 3-3 Roses Are Redder--Take Two / Exercise 3-4 Roses Are Redder--Take Three / Thinking Your Character's Thoughts / Exercise 3-5 Roses Are Redder--Take Four / Playing the Play
Lesson 4: Playing God
Exercise 4-1 Playing God / Playing a Character
Lesson 5: Characterization
Exercise 5-1 Reciprocal Characterization: Richard and Hastings / Exercise 5-2 Intrinsic Characterization: Richard and Hastings / Intrinsic Characterizations: Extensions and Stereotypes / Centering / Exercise 5-3 Centering / Character Postures and Walks / Exercise 5-4 Character Walks / Character Voices / Exercise 5-5 Finding Your Voices / Character Descriptions / Exercise 5-6 Playing Out Character Descriptions / Animal Imagery / Exercise 5-7 Animate (Animalize) Your Character / Intrinsic and Reciprocal Characterization / Exercise 5-8 Character Greetings
Lesson 6: More God
Exercise 6-1 A Stanza, by God
Lesson 7: The Battle of the Sexes: Noah and His Wife
Scene 7-1 Noah and His Wife
Lesson 8: Performance: Being Public in Private
Exercise 8-1 A Performative God / Performative Aspects of Dramatic Scenes / Exercise 8-2 Performing Your Greetings and Insults / The Audience in the Theatre / Scene 8-3 The Performative Context: Oedipus and Creon / Exercise 8-4 The Performative Context: Shakespeare / Exercise 8-5 the Performative Context: Chekhov
Part II. The Scenes
Lesson 9: Greek Tragedy
Scene 9-1 Politician vs. Prophet: Oedipus and Teiresias / More Greek Scenes /
Lesson 10: The Commedia
Commedia Styles and Scripts / Commedia Performances / Commedia and Renaissance Ideals / Acting Commedia: Machiavelli's Clizia / Exercise 10-1 Commedia: Direct Address / Commedia Lazzi / Scene 10-1 Nicomaco and Sofronia / Stock Characters / More Commedia Scenes
Lesson 11: Shakespeare and the Elizabethan Theatre
Scene 11-1 The Past Made Vivid: Richard and Ann / Scansion / Verse Variations / Playing the Verse / Rhetoric / Playing and Building the Rhetoric / The Public Environment / Scene 11-2 A Merry War: Beatrice and Benedick / Shakespeare and Commedia / More Elizabethan Scenes
Lesson 12: The Theatre of Molière
Scene 12-1 Physical Comedy / Jourdain and the Philosopher / Molière and Commedia / Costume and Deportment / French Verse / Scene 12-2 Quarreling in Couplets: Alceste and Celimène /
Lesson 13: Restoration Comedy
Exercise 13-1 Restoration Speeches / Scene 13-1 Sexual Banter/
Lesson 14: The Belle Epoque
George Bernard Shaw / Exercise 14-1 Shaw's Political Speeches /
Anton Chekhov / Scene 14-1 Chekhov's Symphony of Feeling
Oscar Wilde / Scene 14-2 Wilde's Comedy of (Male) Manners / Exercise 14-3 Wilde's Comedy of (Female) Manners
Lesson 15: The Hypertheatre
Eugene Ionesco: Theater of the Absurd / Exercise 15-1 Theatre of Absurd: Mr. and Mrs. Martin
Bertolt Brecht: Theater of Distancing / Scene 15-2 Distancing in Szechuan / Verfremdung in Everyday Life
Lesson 16: Contemporary Styles
Clashing Cultures / 16-1 Prior and Harper / Clashing Subcultures / 16-2 Boy Willie and Grace / Clashing Professions / 16-3 Vivian and Jason / Solo performer, Multiple Roles
L'Envoi
A Glossary of Acting Terms
Index
PART IV. THE ACTOR'S INSTRUMENT
Lesson 15: The Actor's Voice
Breathing / Exercise 15-1 Breathing from the Abdomen / Phonation: Making Sounds / Exercise 15-2 Sounding / Resonance / Exercise 15-3 Exploring Resonance / Pitch / Exercise 15-4 Exploring Your Pitch Range / A Stageworthy Voice / Exercise 15-5 Speaking with Resonance
Lesson 16: Stage Speech
Good Diction / Speech Sounds / Exercise 16-1 Vowels / Exercise 16-2 Repeating Syllables / Exercise 16-3 Consonants / Exercise 16-4 Speeches
Lesson 17: Using Your Voice
Liberation / Exercise 17-1 Rude Chants / Exercise 17-2 Rude Cheering / Exercise 17-3 Fancy Talk / Exercise 17-4 Address a Group / Purposefulness / Exercise 17-5 Adding Purpose
Lesson 18: The Actor's Body
Agility / Exercise 18-1 Fast Warm-Up / Alignment / Exercise 18-2 Improving Alignment / Walking / Exercise 18-3 Sixteen Walks / Exercise 18-4 Walk and Talk / Sitting and Standing / Exercise 18-5 Walk, Talk, Sit / Velocity: Accelerating, Decelerating, and Constant / Exercise 18-6 Acceleration/Deceleration / Counterpoise / Exercise 18-7 Contraposto / Exercise 18-8 Contraction/Extension / The Dynamics of Effort / Exercise 18-9 Distinct Movements / Exercise 18-10 To Be or Not to Be / Exercise 18-11 Walking and Kicking
Lesson 19: Voice and Body Integration
Coordination / Exercise 19-1 Commands / Exercise 19-2 Speeches with Business / Exercise 19-3 Physical Punctuation / Exercise 19-4 Physical Rhythms / Exercise 19-5 Verbal Rhythms / Pointing / Exercise 19-6 Pointing / Tempo / Exercise 19-7 Speech/Movement Timing / Actors with Disabilities
Lesson 20: Imagination and Creativity
Imagination / Creativity / Creativity and Imagination / Using Your Fantasies / Exercise 20-1 Cold/Hot / Exercise 20-2 Age Regression/Advancement / Exercise 20-3 Facing an Imagined Death / Exercise 20-4 Facing Love /
Lesson 21: Emotion and Acting Theory
Exercise 21-1 Playing (with) Real Emotion I / Self-Consciousness / Exercise 21-2 Playing (with) Real Emotion II / Conclusion
PART V. THE ACTOR'S TECHNIQUE
Lesson 22: Phrasing
Diction / Open-Mouthed Speaking / Exercise 22-1 A Acting with Your Teeth / Exercise 22-1 B / Exercise 22-1 C / Developing Diction / Exercise 22-2 Repeated Sentences / Exercise 22-3 Shaw Speech / Emphasis / Exercise 22-4 Change of Emphasis / Exercise 22-5 Punctuate with Emphasis / Inflection / Exercise 22-6 Inflections / Phrasing
Lesson 23: Attack
The First Word / Physical Attack / Turn-Taking / Exercise 23-1 Turn-Taking Dialog / Preparing Strong Attacks / Exercise 23-2 Action Cues
Lesson 24: Follow-Through
The Hook / Questions as Questions / Statements as Questions / Exercise
24-1 Making Questions / Statements as Statements / Exercise 24-2 Argument-Enders / Trail-offs
Lesson 25: Line Linkage
Analyzing Dialog / Rising End-Inflections / Falling End-Inflections / Attack Inflections / Pauses / Long Speeches / Exercise 25-1 Line Linking / Exercise 25-2 The Long Speech / Line Linking in Practice
Lesson 26: Scene Structure
Breaking Down a Script / Choosing a Scene to Do in Class / Structural Characteristics / Transitions / Scene Breakdown / Exercise 26-1 Scene Structure in Action
Lesson 27: Building a Scene
Building and Topping / Exercise 27-1 Standard Build I / Exercise 27-2 Standard Build II / Exercise 27-3 Standard Build III / Cutting Back / Getting on Top / Pacing a Build / Complex Builds / Exercise 27-4 I Detest Monday / Exercise 27-5 I Detest January / Exercise 27-6 Come Here / Exercise 27-7 Building Molière
Lesson 28: Creating a Monologue
Going It Alone / The Monologue to Someone Else / The Soliloquy / Playing a Monologue or Soliloquy / Exercise 28-1 Prepare a Monologue /
L'Envoi
ACTING TWO
Introduction
Terminology: Style, Character, and performance / Acting Two's Structure / A Word About Gender /
Part I. Extensions of Yourself
Lesson 1: Style
Exercise 1-1 Baby Talk / Exercise 1-2 Baby Moves / Lesson 2: Stylized Exchanges
Exercise 2-1 Pig Latin / Exercise 2-2 Speaking in (Foreign) Tongues / Exercise 2-3 Contemporary Greetings / Exercise 2-4 Making Elizabethan Greetings / Exercise 2-5 Ad-Libbing Elizabethan Greetings / Exercise 2-6 Ad-Libbing Elizabethan Insults / Exercise 2-7 Hamlet's Greeting to the Players
Lesson 3: Roses Are Red
Rhyme and Verse / Exercise 3-1 Roses Are Red / Exercise 3-2 Roses Are Redder--Take One / Eye Contact--And Looking Elsewhere / Exercise 3-3 Roses Are Redder--Take Two / Exercise 3-4 Roses Are Redder--Take Three / Thinking Your Character's Thoughts / Exercise 3-5 Roses Are Redder--Take Four / Playing the Play
Lesson 4: Playing God
Exercise 4-1 Playing God / Playing a Character
Lesson 5: Characterization
Exercise 5-1 Reciprocal Characterization: Richard and Hastings / Exercise 5-2 Intrinsic Characterization: Richard and Hastings / Intrinsic Characterizations: Extensions and Stereotypes / Centering / Exercise 5-3 Centering / Character Postures and Walks / Exercise 5-4 Character Walks / Character Voices / Exercise 5-5 Finding Your Voices / Character Descriptions / Exercise 5-6 Playing Out Character Descriptions / Animal Imagery / Exercise 5-7 Animate (Animalize) Your Character / Intrinsic and Reciprocal Characterization / Exercise 5-8 Character Greetings
Lesson 6: More God
Exercise 6-1 A Stanza, by God
Lesson 7: The Battle of the Sexes: Noah and His Wife
Scene 7-1 Noah and His Wife
Lesson 8: Performance: Being Public in Private
Exercise 8-1 A Performative God / Performative Aspects of Dramatic Scenes / Exercise 8-2 Performing Your Greetings and Insults / The Audience in the Theatre / Scene 8-3 The Performative Context: Oedipus and Creon / Exercise 8-4 The Performative Context: Shakespeare / Exercise 8-5 the Performative Context: Chekhov
Part II. The Scenes
Lesson 9: Greek Tragedy
Scene 9-1 Politician vs. Prophet: Oedipus and Teiresias / More Greek Scenes /
Lesson 10: The Commedia
Commedia Styles and Scripts / Commedia Performances / Commedia and Renaissance Ideals / Acting Commedia: Machiavelli's Clizia / Exercise 10-1 Commedia: Direct Address / Commedia Lazzi / Scene 10-1 Nicomaco and Sofronia / Stock Characters / More Commedia Scenes
Lesson 11: Shakespeare and the Elizabethan Theatre
Scene 11-1 The Past Made Vivid: Richard and Ann / Scansion / Verse Variations / Playing the Verse / Rhetoric / Playing and Building the Rhetoric / The Public Environment / Scene 11-2 A Merry War: Beatrice and Benedick / Shakespeare and Commedia / More Elizabethan Scenes
Lesson 12: The Theatre of Molière
Scene 12-1 Physical Comedy / Jourdain and the Philosopher / Molière and Commedia / Costume and Deportment / French Verse / Scene 12-2 Quarreling in Couplets: Alceste and Celimène /
Lesson 13: Restoration Comedy
Exercise 13-1 Restoration Speeches / Scene 13-1 Sexual Banter/
Lesson 14: The Belle Epoque
George Bernard Shaw / Exercise 14-1 Shaw's Political Speeches /
Anton Chekhov / Scene 14-1 Chekhov's Symphony of Feeling
Oscar Wilde / Scene 14-2 Wilde's Comedy of (Male) Manners / Exercise 14-3 Wilde's Comedy of (Female) Manners
Lesson 15: The Hypertheatre
Eugene Ionesco: Theater of the Absurd / Exercise 15-1 Theatre of Absurd: Mr. and Mrs. Martin
Bertolt Brecht: Theater of Distancing / Scene 15-2 Distancing in Szechuan / Verfremdung in Everyday Life
Lesson 16: Contemporary Styles
Clashing Cultures / 16-1 Prior and Harper / Clashing Subcultures / 16-2 Boy Willie and Grace / Clashing Professions / 16-3 Vivian and Jason / Solo performer, Multiple Roles
L'Envoi
A Glossary of Acting Terms
Index
Breathing / Exercise 15-1 Breathing from the Abdomen / Phonation: Making Sounds / Exercise 15-2 Sounding / Resonance / Exercise 15-3 Exploring Resonance / Pitch / Exercise 15-4 Exploring Your Pitch Range / A Stageworthy Voice / Exercise 15-5 Speaking with Resonance
Lesson 16: Stage Speech
Good Diction / Speech Sounds / Exercise 16-1 Vowels / Exercise 16-2 Repeating Syllables / Exercise 16-3 Consonants / Exercise 16-4 Speeches
Lesson 17: Using Your Voice
Liberation / Exercise 17-1 Rude Chants / Exercise 17-2 Rude Cheering / Exercise 17-3 Fancy Talk / Exercise 17-4 Address a Group / Purposefulness / Exercise 17-5 Adding Purpose
Lesson 18: The Actor's Body
Agility / Exercise 18-1 Fast Warm-Up / Alignment / Exercise 18-2 Improving Alignment / Walking / Exercise 18-3 Sixteen Walks / Exercise 18-4 Walk and Talk / Sitting and Standing / Exercise 18-5 Walk, Talk, Sit / Velocity: Accelerating, Decelerating, and Constant / Exercise 18-6 Acceleration/Deceleration / Counterpoise / Exercise 18-7 Contraposto / Exercise 18-8 Contraction/Extension / The Dynamics of Effort / Exercise 18-9 Distinct Movements / Exercise 18-10 To Be or Not to Be / Exercise 18-11 Walking and Kicking
Lesson 19: Voice and Body Integration
Coordination / Exercise 19-1 Commands / Exercise 19-2 Speeches with Business / Exercise 19-3 Physical Punctuation / Exercise 19-4 Physical Rhythms / Exercise 19-5 Verbal Rhythms / Pointing / Exercise 19-6 Pointing / Tempo / Exercise 19-7 Speech/Movement Timing / Actors with Disabilities
Lesson 20: Imagination and Creativity
Imagination / Creativity / Creativity and Imagination / Using Your Fantasies / Exercise 20-1 Cold/Hot / Exercise 20-2 Age Regression/Advancement / Exercise 20-3 Facing an Imagined Death / Exercise 20-4 Facing Love /
Lesson 21: Emotion and Acting Theory
Exercise 21-1 Playing (with) Real Emotion I / Self-Consciousness / Exercise 21-2 Playing (with) Real Emotion II / Conclusion
PART V. THE ACTOR'S TECHNIQUE
Lesson 22: Phrasing
Diction / Open-Mouthed Speaking / Exercise 22-1 A Acting with Your Teeth / Exercise 22-1 B / Exercise 22-1 C / Developing Diction / Exercise 22-2 Repeated Sentences / Exercise 22-3 Shaw Speech / Emphasis / Exercise 22-4 Change of Emphasis / Exercise 22-5 Punctuate with Emphasis / Inflection / Exercise 22-6 Inflections / Phrasing
Lesson 23: Attack
The First Word / Physical Attack / Turn-Taking / Exercise 23-1 Turn-Taking Dialog / Preparing Strong Attacks / Exercise 23-2 Action Cues
Lesson 24: Follow-Through
The Hook / Questions as Questions / Statements as Questions / Exercise
24-1 Making Questions / Statements as Statements / Exercise 24-2 Argument-Enders / Trail-offs
Lesson 25: Line Linkage
Analyzing Dialog / Rising End-Inflections / Falling End-Inflections / Attack Inflections / Pauses / Long Speeches / Exercise 25-1 Line Linking / Exercise 25-2 The Long Speech / Line Linking in Practice
Lesson 26: Scene Structure
Breaking Down a Script / Choosing a Scene to Do in Class / Structural Characteristics / Transitions / Scene Breakdown / Exercise 26-1 Scene Structure in Action
Lesson 27: Building a Scene
Building and Topping / Exercise 27-1 Standard Build I / Exercise 27-2 Standard Build II / Exercise 27-3 Standard Build III / Cutting Back / Getting on Top / Pacing a Build / Complex Builds / Exercise 27-4 I Detest Monday / Exercise 27-5 I Detest January / Exercise 27-6 Come Here / Exercise 27-7 Building Molière
Lesson 28: Creating a Monologue
Going It Alone / The Monologue to Someone Else / The Soliloquy / Playing a Monologue or Soliloquy / Exercise 28-1 Prepare a Monologue /
L'Envoi
ACTING TWO
Introduction
Terminology: Style, Character, and performance / Acting Two's Structure / A Word About Gender /
Part I. Extensions of Yourself
Lesson 1: Style
Exercise 1-1 Baby Talk / Exercise 1-2 Baby Moves / Lesson 2: Stylized Exchanges
Exercise 2-1 Pig Latin / Exercise 2-2 Speaking in (Foreign) Tongues / Exercise 2-3 Contemporary Greetings / Exercise 2-4 Making Elizabethan Greetings / Exercise 2-5 Ad-Libbing Elizabethan Greetings / Exercise 2-6 Ad-Libbing Elizabethan Insults / Exercise 2-7 Hamlet's Greeting to the Players
Lesson 3: Roses Are Red
Rhyme and Verse / Exercise 3-1 Roses Are Red / Exercise 3-2 Roses Are Redder--Take One / Eye Contact--And Looking Elsewhere / Exercise 3-3 Roses Are Redder--Take Two / Exercise 3-4 Roses Are Redder--Take Three / Thinking Your Character's Thoughts / Exercise 3-5 Roses Are Redder--Take Four / Playing the Play
Lesson 4: Playing God
Exercise 4-1 Playing God / Playing a Character
Lesson 5: Characterization
Exercise 5-1 Reciprocal Characterization: Richard and Hastings / Exercise 5-2 Intrinsic Characterization: Richard and Hastings / Intrinsic Characterizations: Extensions and Stereotypes / Centering / Exercise 5-3 Centering / Character Postures and Walks / Exercise 5-4 Character Walks / Character Voices / Exercise 5-5 Finding Your Voices / Character Descriptions / Exercise 5-6 Playing Out Character Descriptions / Animal Imagery / Exercise 5-7 Animate (Animalize) Your Character / Intrinsic and Reciprocal Characterization / Exercise 5-8 Character Greetings
Lesson 6: More God
Exercise 6-1 A Stanza, by God
Lesson 7: The Battle of the Sexes: Noah and His Wife
Scene 7-1 Noah and His Wife
Lesson 8: Performance: Being Public in Private
Exercise 8-1 A Performative God / Performative Aspects of Dramatic Scenes / Exercise 8-2 Performing Your Greetings and Insults / The Audience in the Theatre / Scene 8-3 The Performative Context: Oedipus and Creon / Exercise 8-4 The Performative Context: Shakespeare / Exercise 8-5 the Performative Context: Chekhov
Part II. The Scenes
Lesson 9: Greek Tragedy
Scene 9-1 Politician vs. Prophet: Oedipus and Teiresias / More Greek Scenes /
Lesson 10: The Commedia
Commedia Styles and Scripts / Commedia Performances / Commedia and Renaissance Ideals / Acting Commedia: Machiavelli's Clizia / Exercise 10-1 Commedia: Direct Address / Commedia Lazzi / Scene 10-1 Nicomaco and Sofronia / Stock Characters / More Commedia Scenes
Lesson 11: Shakespeare and the Elizabethan Theatre
Scene 11-1 The Past Made Vivid: Richard and Ann / Scansion / Verse Variations / Playing the Verse / Rhetoric / Playing and Building the Rhetoric / The Public Environment / Scene 11-2 A Merry War: Beatrice and Benedick / Shakespeare and Commedia / More Elizabethan Scenes
Lesson 12: The Theatre of Molière
Scene 12-1 Physical Comedy / Jourdain and the Philosopher / Molière and Commedia / Costume and Deportment / French Verse / Scene 12-2 Quarreling in Couplets: Alceste and Celimène /
Lesson 13: Restoration Comedy
Exercise 13-1 Restoration Speeches / Scene 13-1 Sexual Banter/
Lesson 14: The Belle Epoque
George Bernard Shaw / Exercise 14-1 Shaw's Political Speeches /
Anton Chekhov / Scene 14-1 Chekhov's Symphony of Feeling
Oscar Wilde / Scene 14-2 Wilde's Comedy of (Male) Manners / Exercise 14-3 Wilde's Comedy of (Female) Manners
Lesson 15: The Hypertheatre
Eugene Ionesco: Theater of the Absurd / Exercise 15-1 Theatre of Absurd: Mr. and Mrs. Martin
Bertolt Brecht: Theater of Distancing / Scene 15-2 Distancing in Szechuan / Verfremdung in Everyday Life
Lesson 16: Contemporary Styles
Clashing Cultures / 16-1 Prior and Harper / Clashing Subcultures / 16-2 Boy Willie and Grace / Clashing Professions / 16-3 Vivian and Jason / Solo performer, Multiple Roles
L'Envoi
A Glossary of Acting Terms
Index
Good Diction / Speech Sounds / Exercise 16-1 Vowels / Exercise 16-2 Repeating Syllables / Exercise 16-3 Consonants / Exercise 16-4 Speeches
Lesson 17: Using Your Voice
Liberation / Exercise 17-1 Rude Chants / Exercise 17-2 Rude Cheering / Exercise 17-3 Fancy Talk / Exercise 17-4 Address a Group / Purposefulness / Exercise 17-5 Adding Purpose
Lesson 18: The Actor's Body
Agility / Exercise 18-1 Fast Warm-Up / Alignment / Exercise 18-2 Improving Alignment / Walking / Exercise 18-3 Sixteen Walks / Exercise 18-4 Walk and Talk / Sitting and Standing / Exercise 18-5 Walk, Talk, Sit / Velocity: Accelerating, Decelerating, and Constant / Exercise 18-6 Acceleration/Deceleration / Counterpoise / Exercise 18-7 Contraposto / Exercise 18-8 Contraction/Extension / The Dynamics of Effort / Exercise 18-9 Distinct Movements / Exercise 18-10 To Be or Not to Be / Exercise 18-11 Walking and Kicking
Lesson 19: Voice and Body Integration
Coordination / Exercise 19-1 Commands / Exercise 19-2 Speeches with Business / Exercise 19-3 Physical Punctuation / Exercise 19-4 Physical Rhythms / Exercise 19-5 Verbal Rhythms / Pointing / Exercise 19-6 Pointing / Tempo / Exercise 19-7 Speech/Movement Timing / Actors with Disabilities
Lesson 20: Imagination and Creativity
Imagination / Creativity / Creativity and Imagination / Using Your Fantasies / Exercise 20-1 Cold/Hot / Exercise 20-2 Age Regression/Advancement / Exercise 20-3 Facing an Imagined Death / Exercise 20-4 Facing Love /
Lesson 21: Emotion and Acting Theory
Exercise 21-1 Playing (with) Real Emotion I / Self-Consciousness / Exercise 21-2 Playing (with) Real Emotion II / Conclusion
PART V. THE ACTOR'S TECHNIQUE
Lesson 22: Phrasing
Diction / Open-Mouthed Speaking / Exercise 22-1 A Acting with Your Teeth / Exercise 22-1 B / Exercise 22-1 C / Developing Diction / Exercise 22-2 Repeated Sentences / Exercise 22-3 Shaw Speech / Emphasis / Exercise 22-4 Change of Emphasis / Exercise 22-5 Punctuate with Emphasis / Inflection / Exercise 22-6 Inflections / Phrasing
Lesson 23: Attack
The First Word / Physical Attack / Turn-Taking / Exercise 23-1 Turn-Taking Dialog / Preparing Strong Attacks / Exercise 23-2 Action Cues
Lesson 24: Follow-Through
The Hook / Questions as Questions / Statements as Questions / Exercise
24-1 Making Questions / Statements as Statements / Exercise 24-2 Argument-Enders / Trail-offs
Lesson 25: Line Linkage
Analyzing Dialog / Rising End-Inflections / Falling End-Inflections / Attack Inflections / Pauses / Long Speeches / Exercise 25-1 Line Linking / Exercise 25-2 The Long Speech / Line Linking in Practice
Lesson 26: Scene Structure
Breaking Down a Script / Choosing a Scene to Do in Class / Structural Characteristics / Transitions / Scene Breakdown / Exercise 26-1 Scene Structure in Action
Lesson 27: Building a Scene
Building and Topping / Exercise 27-1 Standard Build I / Exercise 27-2 Standard Build II / Exercise 27-3 Standard Build III / Cutting Back / Getting on Top / Pacing a Build / Complex Builds / Exercise 27-4 I Detest Monday / Exercise 27-5 I Detest January / Exercise 27-6 Come Here / Exercise 27-7 Building Molière
Lesson 28: Creating a Monologue
Going It Alone / The Monologue to Someone Else / The Soliloquy / Playing a Monologue or Soliloquy / Exercise 28-1 Prepare a Monologue /
L'Envoi
ACTING TWO
Introduction
Terminology: Style, Character, and performance / Acting Two's Structure / A Word About Gender /
Part I. Extensions of Yourself
Lesson 1: Style
Exercise 1-1 Baby Talk / Exercise 1-2 Baby Moves / Lesson 2: Stylized Exchanges
Exercise 2-1 Pig Latin / Exercise 2-2 Speaking in (Foreign) Tongues / Exercise 2-3 Contemporary Greetings / Exercise 2-4 Making Elizabethan Greetings / Exercise 2-5 Ad-Libbing Elizabethan Greetings / Exercise 2-6 Ad-Libbing Elizabethan Insults / Exercise 2-7 Hamlet's Greeting to the Players
Lesson 3: Roses Are Red
Rhyme and Verse / Exercise 3-1 Roses Are Red / Exercise 3-2 Roses Are Redder--Take One / Eye Contact--And Looking Elsewhere / Exercise 3-3 Roses Are Redder--Take Two / Exercise 3-4 Roses Are Redder--Take Three / Thinking Your Character's Thoughts / Exercise 3-5 Roses Are Redder--Take Four / Playing the Play
Lesson 4: Playing God
Exercise 4-1 Playing God / Playing a Character
Lesson 5: Characterization
Exercise 5-1 Reciprocal Characterization: Richard and Hastings / Exercise 5-2 Intrinsic Characterization: Richard and Hastings / Intrinsic Characterizations: Extensions and Stereotypes / Centering / Exercise 5-3 Centering / Character Postures and Walks / Exercise 5-4 Character Walks / Character Voices / Exercise 5-5 Finding Your Voices / Character Descriptions / Exercise 5-6 Playing Out Character Descriptions / Animal Imagery / Exercise 5-7 Animate (Animalize) Your Character / Intrinsic and Reciprocal Characterization / Exercise 5-8 Character Greetings
Lesson 6: More God
Exercise 6-1 A Stanza, by God
Lesson 7: The Battle of the Sexes: Noah and His Wife
Scene 7-1 Noah and His Wife
Lesson 8: Performance: Being Public in Private
Exercise 8-1 A Performative God / Performative Aspects of Dramatic Scenes / Exercise 8-2 Performing Your Greetings and Insults / The Audience in the Theatre / Scene 8-3 The Performative Context: Oedipus and Creon / Exercise 8-4 The Performative Context: Shakespeare / Exercise 8-5 the Performative Context: Chekhov
Part II. The Scenes
Lesson 9: Greek Tragedy
Scene 9-1 Politician vs. Prophet: Oedipus and Teiresias / More Greek Scenes /
Lesson 10: The Commedia
Commedia Styles and Scripts / Commedia Performances / Commedia and Renaissance Ideals / Acting Commedia: Machiavelli's Clizia / Exercise 10-1 Commedia: Direct Address / Commedia Lazzi / Scene 10-1 Nicomaco and Sofronia / Stock Characters / More Commedia Scenes
Lesson 11: Shakespeare and the Elizabethan Theatre
Scene 11-1 The Past Made Vivid: Richard and Ann / Scansion / Verse Variations / Playing the Verse / Rhetoric / Playing and Building the Rhetoric / The Public Environment / Scene 11-2 A Merry War: Beatrice and Benedick / Shakespeare and Commedia / More Elizabethan Scenes
Lesson 12: The Theatre of Molière
Scene 12-1 Physical Comedy / Jourdain and the Philosopher / Molière and Commedia / Costume and Deportment / French Verse / Scene 12-2 Quarreling in Couplets: Alceste and Celimène /
Lesson 13: Restoration Comedy
Exercise 13-1 Restoration Speeches / Scene 13-1 Sexual Banter/
Lesson 14: The Belle Epoque
George Bernard Shaw / Exercise 14-1 Shaw's Political Speeches /
Anton Chekhov / Scene 14-1 Chekhov's Symphony of Feeling
Oscar Wilde / Scene 14-2 Wilde's Comedy of (Male) Manners / Exercise 14-3 Wilde's Comedy of (Female) Manners
Lesson 15: The Hypertheatre
Eugene Ionesco: Theater of the Absurd / Exercise 15-1 Theatre of Absurd: Mr. and Mrs. Martin
Bertolt Brecht: Theater of Distancing / Scene 15-2 Distancing in Szechuan / Verfremdung in Everyday Life
Lesson 16: Contemporary Styles
Clashing Cultures / 16-1 Prior and Harper / Clashing Subcultures / 16-2 Boy Willie and Grace / Clashing Professions / 16-3 Vivian and Jason / Solo performer, Multiple Roles
L'Envoi
A Glossary of Acting Terms
Index
Liberation / Exercise 17-1 Rude Chants / Exercise 17-2 Rude Cheering / Exercise 17-3 Fancy Talk / Exercise 17-4 Address a Group / Purposefulness / Exercise 17-5 Adding Purpose
Lesson 18: The Actor's Body
Agility / Exercise 18-1 Fast Warm-Up / Alignment / Exercise 18-2 Improving Alignment / Walking / Exercise 18-3 Sixteen Walks / Exercise 18-4 Walk and Talk / Sitting and Standing / Exercise 18-5 Walk, Talk, Sit / Velocity: Accelerating, Decelerating, and Constant / Exercise 18-6 Acceleration/Deceleration / Counterpoise / Exercise 18-7 Contraposto / Exercise 18-8 Contraction/Extension / The Dynamics of Effort / Exercise 18-9 Distinct Movements / Exercise 18-10 To Be or Not to Be / Exercise 18-11 Walking and Kicking
Lesson 19: Voice and Body Integration
Coordination / Exercise 19-1 Commands / Exercise 19-2 Speeches with Business / Exercise 19-3 Physical Punctuation / Exercise 19-4 Physical Rhythms / Exercise 19-5 Verbal Rhythms / Pointing / Exercise 19-6 Pointing / Tempo / Exercise 19-7 Speech/Movement Timing / Actors with Disabilities
Lesson 20: Imagination and Creativity
Imagination / Creativity / Creativity and Imagination / Using Your Fantasies / Exercise 20-1 Cold/Hot / Exercise 20-2 Age Regression/Advancement / Exercise 20-3 Facing an Imagined Death / Exercise 20-4 Facing Love /
Lesson 21: Emotion and Acting Theory
Exercise 21-1 Playing (with) Real Emotion I / Self-Consciousness / Exercise 21-2 Playing (with) Real Emotion II / Conclusion
PART V. THE ACTOR'S TECHNIQUE
Lesson 22: Phrasing
Diction / Open-Mouthed Speaking / Exercise 22-1 A Acting with Your Teeth / Exercise 22-1 B / Exercise 22-1 C / Developing Diction / Exercise 22-2 Repeated Sentences / Exercise 22-3 Shaw Speech / Emphasis / Exercise 22-4 Change of Emphasis / Exercise 22-5 Punctuate with Emphasis / Inflection / Exercise 22-6 Inflections / Phrasing
Lesson 23: Attack
The First Word / Physical Attack / Turn-Taking / Exercise 23-1 Turn-Taking Dialog / Preparing Strong Attacks / Exercise 23-2 Action Cues
Lesson 24: Follow-Through
The Hook / Questions as Questions / Statements as Questions / Exercise
24-1 Making Questions / Statements as Statements / Exercise 24-2 Argument-Enders / Trail-offs
Lesson 25: Line Linkage
Analyzing Dialog / Rising End-Inflections / Falling End-Inflections / Attack Inflections / Pauses / Long Speeches / Exercise 25-1 Line Linking / Exercise 25-2 The Long Speech / Line Linking in Practice
Lesson 26: Scene Structure
Breaking Down a Script / Choosing a Scene to Do in Class / Structural Characteristics / Transitions / Scene Breakdown / Exercise 26-1 Scene Structure in Action
Lesson 27: Building a Scene
Building and Topping / Exercise 27-1 Standard Build I / Exercise 27-2 Standard Build II / Exercise 27-3 Standard Build III / Cutting Back / Getting on Top / Pacing a Build / Complex Builds / Exercise 27-4 I Detest Monday / Exercise 27-5 I Detest January / Exercise 27-6 Come Here / Exercise 27-7 Building Molière
Lesson 28: Creating a Monologue
Going It Alone / The Monologue to Someone Else / The Soliloquy / Playing a Monologue or Soliloquy / Exercise 28-1 Prepare a Monologue /
L'Envoi
ACTING TWO
Introduction
Terminology: Style, Character, and performance / Acting Two's Structure / A Word About Gender /
Part I. Extensions of Yourself
Lesson 1: Style
Exercise 1-1 Baby Talk / Exercise 1-2 Baby Moves / Lesson 2: Stylized Exchanges
Exercise 2-1 Pig Latin / Exercise 2-2 Speaking in (Foreign) Tongues / Exercise 2-3 Contemporary Greetings / Exercise 2-4 Making Elizabethan Greetings / Exercise 2-5 Ad-Libbing Elizabethan Greetings / Exercise 2-6 Ad-Libbing Elizabethan Insults / Exercise 2-7 Hamlet's Greeting to the Players
Lesson 3: Roses Are Red
Rhyme and Verse / Exercise 3-1 Roses Are Red / Exercise 3-2 Roses Are Redder--Take One / Eye Contact--And Looking Elsewhere / Exercise 3-3 Roses Are Redder--Take Two / Exercise 3-4 Roses Are Redder--Take Three / Thinking Your Character's Thoughts / Exercise 3-5 Roses Are Redder--Take Four / Playing the Play
Lesson 4: Playing God
Exercise 4-1 Playing God / Playing a Character
Lesson 5: Characterization
Exercise 5-1 Reciprocal Characterization: Richard and Hastings / Exercise 5-2 Intrinsic Characterization: Richard and Hastings / Intrinsic Characterizations: Extensions and Stereotypes / Centering / Exercise 5-3 Centering / Character Postures and Walks / Exercise 5-4 Character Walks / Character Voices / Exercise 5-5 Finding Your Voices / Character Descriptions / Exercise 5-6 Playing Out Character Descriptions / Animal Imagery / Exercise 5-7 Animate (Animalize) Your Character / Intrinsic and Reciprocal Characterization / Exercise 5-8 Character Greetings
Lesson 6: More God
Exercise 6-1 A Stanza, by God
Lesson 7: The Battle of the Sexes: Noah and His Wife
Scene 7-1 Noah and His Wife
Lesson 8: Performance: Being Public in Private
Exercise 8-1 A Performative God / Performative Aspects of Dramatic Scenes / Exercise 8-2 Performing Your Greetings and Insults / The Audience in the Theatre / Scene 8-3 The Performative Context: Oedipus and Creon / Exercise 8-4 The Performative Context: Shakespeare / Exercise 8-5 the Performative Context: Chekhov
Part II. The Scenes
Lesson 9: Greek Tragedy
Scene 9-1 Politician vs. Prophet: Oedipus and Teiresias / More Greek Scenes /
Lesson 10: The Commedia
Commedia Styles and Scripts / Commedia Performances / Commedia and Renaissance Ideals / Acting Commedia: Machiavelli's Clizia / Exercise 10-1 Commedia: Direct Address / Commedia Lazzi / Scene 10-1 Nicomaco and Sofronia / Stock Characters / More Commedia Scenes
Lesson 11: Shakespeare and the Elizabethan Theatre
Scene 11-1 The Past Made Vivid: Richard and Ann / Scansion / Verse Variations / Playing the Verse / Rhetoric / Playing and Building the Rhetoric / The Public Environment / Scene 11-2 A Merry War: Beatrice and Benedick / Shakespeare and Commedia / More Elizabethan Scenes
Lesson 12: The Theatre of Molière
Scene 12-1 Physical Comedy / Jourdain and the Philosopher / Molière and Commedia / Costume and Deportment / French Verse / Scene 12-2 Quarreling in Couplets: Alceste and Celimène /
Lesson 13: Restoration Comedy
Exercise 13-1 Restoration Speeches / Scene 13-1 Sexual Banter/
Lesson 14: The Belle Epoque
George Bernard Shaw / Exercise 14-1 Shaw's Political Speeches /
Anton Chekhov / Scene 14-1 Chekhov's Symphony of Feeling
Oscar Wilde / Scene 14-2 Wilde's Comedy of (Male) Manners / Exercise 14-3 Wilde's Comedy of (Female) Manners
Lesson 15: The Hypertheatre
Eugene Ionesco: Theater of the Absurd / Exercise 15-1 Theatre of Absurd: Mr. and Mrs. Martin
Bertolt Brecht: Theater of Distancing / Scene 15-2 Distancing in Szechuan / Verfremdung in Everyday Life
Lesson 16: Contemporary Styles
Clashing Cultures / 16-1 Prior and Harper / Clashing Subcultures / 16-2 Boy Willie and Grace / Clashing Professions / 16-3 Vivian and Jason / Solo performer, Multiple Roles
L'Envoi
A Glossary of Acting Terms
Index
Agility / Exercise 18-1 Fast Warm-Up / Alignment / Exercise 18-2 Improving Alignment / Walking / Exercise 18-3 Sixteen Walks / Exercise 18-4 Walk and Talk / Sitting and Standing / Exercise 18-5 Walk, Talk, Sit / Velocity: Accelerating, Decelerating, and Constant / Exercise 18-6 Acceleration/Deceleration / Counterpoise / Exercise 18-7 Contraposto / Exercise 18-8 Contraction/Extension / The Dynamics of Effort / Exercise 18-9 Distinct Movements / Exercise 18-10 To Be or Not to Be / Exercise 18-11 Walking and Kicking
Lesson 19: Voice and Body Integration
Coordination / Exercise 19-1 Commands / Exercise 19-2 Speeches with Business / Exercise 19-3 Physical Punctuation / Exercise 19-4 Physical Rhythms / Exercise 19-5 Verbal Rhythms / Pointing / Exercise 19-6 Pointing / Tempo / Exercise 19-7 Speech/Movement Timing / Actors with Disabilities
Lesson 20: Imagination and Creativity
Imagination / Creativity / Creativity and Imagination / Using Your Fantasies / Exercise 20-1 Cold/Hot / Exercise 20-2 Age Regression/Advancement / Exercise 20-3 Facing an Imagined Death / Exercise 20-4 Facing Love /
Lesson 21: Emotion and Acting Theory
Exercise 21-1 Playing (with) Real Emotion I / Self-Consciousness / Exercise 21-2 Playing (with) Real Emotion II / Conclusion
PART V. THE ACTOR'S TECHNIQUE
Lesson 22: Phrasing
Diction / Open-Mouthed Speaking / Exercise 22-1 A Acting with Your Teeth / Exercise 22-1 B / Exercise 22-1 C / Developing Diction / Exercise 22-2 Repeated Sentences / Exercise 22-3 Shaw Speech / Emphasis / Exercise 22-4 Change of Emphasis / Exercise 22-5 Punctuate with Emphasis / Inflection / Exercise 22-6 Inflections / Phrasing
Lesson 23: Attack
The First Word / Physical Attack / Turn-Taking / Exercise 23-1 Turn-Taking Dialog / Preparing Strong Attacks / Exercise 23-2 Action Cues
Lesson 24: Follow-Through
The Hook / Questions as Questions / Statements as Questions / Exercise
24-1 Making Questions / Statements as Statements / Exercise 24-2 Argument-Enders / Trail-offs
Lesson 25: Line Linkage
Analyzing Dialog / Rising End-Inflections / Falling End-Inflections / Attack Inflections / Pauses / Long Speeches / Exercise 25-1 Line Linking / Exercise 25-2 The Long Speech / Line Linking in Practice
Lesson 26: Scene Structure
Breaking Down a Script / Choosing a Scene to Do in Class / Structural Characteristics / Transitions / Scene Breakdown / Exercise 26-1 Scene Structure in Action
Lesson 27: Building a Scene
Building and Topping / Exercise 27-1 Standard Build I / Exercise 27-2 Standard Build II / Exercise 27-3 Standard Build III / Cutting Back / Getting on Top / Pacing a Build / Complex Builds / Exercise 27-4 I Detest Monday / Exercise 27-5 I Detest January / Exercise 27-6 Come Here / Exercise 27-7 Building Molière
Lesson 28: Creating a Monologue
Going It Alone / The Monologue to Someone Else / The Soliloquy / Playing a Monologue or Soliloquy / Exercise 28-1 Prepare a Monologue /
L'Envoi
ACTING TWO
Introduction
Terminology: Style, Character, and performance / Acting Two's Structure / A Word About Gender /
Part I. Extensions of Yourself
Lesson 1: Style
Exercise 1-1 Baby Talk / Exercise 1-2 Baby Moves / Lesson 2: Stylized Exchanges
Exercise 2-1 Pig Latin / Exercise 2-2 Speaking in (Foreign) Tongues / Exercise 2-3 Contemporary Greetings / Exercise 2-4 Making Elizabethan Greetings / Exercise 2-5 Ad-Libbing Elizabethan Greetings / Exercise 2-6 Ad-Libbing Elizabethan Insults / Exercise 2-7 Hamlet's Greeting to the Players
Lesson 3: Roses Are Red
Rhyme and Verse / Exercise 3-1 Roses Are Red / Exercise 3-2 Roses Are Redder--Take One / Eye Contact--And Looking Elsewhere / Exercise 3-3 Roses Are Redder--Take Two / Exercise 3-4 Roses Are Redder--Take Three / Thinking Your Character's Thoughts / Exercise 3-5 Roses Are Redder--Take Four / Playing the Play
Lesson 4: Playing God
Exercise 4-1 Playing God / Playing a Character
Lesson 5: Characterization
Exercise 5-1 Reciprocal Characterization: Richard and Hastings / Exercise 5-2 Intrinsic Characterization: Richard and Hastings / Intrinsic Characterizations: Extensions and Stereotypes / Centering / Exercise 5-3 Centering / Character Postures and Walks / Exercise 5-4 Character Walks / Character Voices / Exercise 5-5 Finding Your Voices / Character Descriptions / Exercise 5-6 Playing Out Character Descriptions / Animal Imagery / Exercise 5-7 Animate (Animalize) Your Character / Intrinsic and Reciprocal Characterization / Exercise 5-8 Character Greetings
Lesson 6: More God
Exercise 6-1 A Stanza, by God
Lesson 7: The Battle of the Sexes: Noah and His Wife
Scene 7-1 Noah and His Wife
Lesson 8: Performance: Being Public in Private
Exercise 8-1 A Performative God / Performative Aspects of Dramatic Scenes / Exercise 8-2 Performing Your Greetings and Insults / The Audience in the Theatre / Scene 8-3 The Performative Context: Oedipus and Creon / Exercise 8-4 The Performative Context: Shakespeare / Exercise 8-5 the Performative Context: Chekhov
Part II. The Scenes
Lesson 9: Greek Tragedy
Scene 9-1 Politician vs. Prophet: Oedipus and Teiresias / More Greek Scenes /
Lesson 10: The Commedia
Commedia Styles and Scripts / Commedia Performances / Commedia and Renaissance Ideals / Acting Commedia: Machiavelli's Clizia / Exercise 10-1 Commedia: Direct Address / Commedia Lazzi / Scene 10-1 Nicomaco and Sofronia / Stock Characters / More Commedia Scenes
Lesson 11: Shakespeare and the Elizabethan Theatre
Scene 11-1 The Past Made Vivid: Richard and Ann / Scansion / Verse Variations / Playing the Verse / Rhetoric / Playing and Building the Rhetoric / The Public Environment / Scene 11-2 A Merry War: Beatrice and Benedick / Shakespeare and Commedia / More Elizabethan Scenes
Lesson 12: The Theatre of Molière
Scene 12-1 Physical Comedy / Jourdain and the Philosopher / Molière and Commedia / Costume and Deportment / French Verse / Scene 12-2 Quarreling in Couplets: Alceste and Celimène /
Lesson 13: Restoration Comedy
Exercise 13-1 Restoration Speeches / Scene 13-1 Sexual Banter/
Lesson 14: The Belle Epoque
George Bernard Shaw / Exercise 14-1 Shaw's Political Speeches /
Anton Chekhov / Scene 14-1 Chekhov's Symphony of Feeling
Oscar Wilde / Scene 14-2 Wilde's Comedy of (Male) Manners / Exercise 14-3 Wilde's Comedy of (Female) Manners
Lesson 15: The Hypertheatre
Eugene Ionesco: Theater of the Absurd / Exercise 15-1 Theatre of Absurd: Mr. and Mrs. Martin
Bertolt Brecht: Theater of Distancing / Scene 15-2 Distancing in Szechuan / Verfremdung in Everyday Life
Lesson 16: Contemporary Styles
Clashing Cultures / 16-1 Prior and Harper / Clashing Subcultures / 16-2 Boy Willie and Grace / Clashing Professions / 16-3 Vivian and Jason / Solo performer, Multiple Roles
L'Envoi
A Glossary of Acting Terms
Index
Coordination / Exercise 19-1 Commands / Exercise 19-2 Speeches with Business / Exercise 19-3 Physical Punctuation / Exercise 19-4 Physical Rhythms / Exercise 19-5 Verbal Rhythms / Pointing / Exercise 19-6 Pointing / Tempo / Exercise 19-7 Speech/Movement Timing / Actors with Disabilities
Lesson 20: Imagination and Creativity
Imagination / Creativity / Creativity and Imagination / Using Your Fantasies / Exercise 20-1 Cold/Hot / Exercise 20-2 Age Regression/Advancement / Exercise 20-3 Facing an Imagined Death / Exercise 20-4 Facing Love /
Lesson 21: Emotion and Acting Theory
Exercise 21-1 Playing (with) Real Emotion I / Self-Consciousness / Exercise 21-2 Playing (with) Real Emotion II / Conclusion
PART V. THE ACTOR'S TECHNIQUE
Lesson 22: Phrasing
Diction / Open-Mouthed Speaking / Exercise 22-1 A Acting with Your Teeth / Exercise 22-1 B / Exercise 22-1 C / Developing Diction / Exercise 22-2 Repeated Sentences / Exercise 22-3 Shaw Speech / Emphasis / Exercise 22-4 Change of Emphasis / Exercise 22-5 Punctuate with Emphasis / Inflection / Exercise 22-6 Inflections / Phrasing
Lesson 23: Attack
The First Word / Physical Attack / Turn-Taking / Exercise 23-1 Turn-Taking Dialog / Preparing Strong Attacks / Exercise 23-2 Action Cues
Lesson 24: Follow-Through
The Hook / Questions as Questions / Statements as Questions / Exercise
24-1 Making Questions / Statements as Statements / Exercise 24-2 Argument-Enders / Trail-offs
Lesson 25: Line Linkage
Analyzing Dialog / Rising End-Inflections / Falling End-Inflections / Attack Inflections / Pauses / Long Speeches / Exercise 25-1 Line Linking / Exercise 25-2 The Long Speech / Line Linking in Practice
Lesson 26: Scene Structure
Breaking Down a Script / Choosing a Scene to Do in Class / Structural Characteristics / Transitions / Scene Breakdown / Exercise 26-1 Scene Structure in Action
Lesson 27: Building a Scene
Building and Topping / Exercise 27-1 Standard Build I / Exercise 27-2 Standard Build II / Exercise 27-3 Standard Build III / Cutting Back / Getting on Top / Pacing a Build / Complex Builds / Exercise 27-4 I Detest Monday / Exercise 27-5 I Detest January / Exercise 27-6 Come Here / Exercise 27-7 Building Molière
Lesson 28: Creating a Monologue
Going It Alone / The Monologue to Someone Else / The Soliloquy / Playing a Monologue or Soliloquy / Exercise 28-1 Prepare a Monologue /
L'Envoi
ACTING TWO
Introduction
Terminology: Style, Character, and performance / Acting Two's Structure / A Word About Gender /
Part I. Extensions of Yourself
Lesson 1: Style
Exercise 1-1 Baby Talk / Exercise 1-2 Baby Moves / Lesson 2: Stylized Exchanges
Exercise 2-1 Pig Latin / Exercise 2-2 Speaking in (Foreign) Tongues / Exercise 2-3 Contemporary Greetings / Exercise 2-4 Making Elizabethan Greetings / Exercise 2-5 Ad-Libbing Elizabethan Greetings / Exercise 2-6 Ad-Libbing Elizabethan Insults / Exercise 2-7 Hamlet's Greeting to the Players
Lesson 3: Roses Are Red
Rhyme and Verse / Exercise 3-1 Roses Are Red / Exercise 3-2 Roses Are Redder--Take One / Eye Contact--And Looking Elsewhere / Exercise 3-3 Roses Are Redder--Take Two / Exercise 3-4 Roses Are Redder--Take Three / Thinking Your Character's Thoughts / Exercise 3-5 Roses Are Redder--Take Four / Playing the Play
Lesson 4: Playing God
Exercise 4-1 Playing God / Playing a Character
Lesson 5: Characterization
Exercise 5-1 Reciprocal Characterization: Richard and Hastings / Exercise 5-2 Intrinsic Characterization: Richard and Hastings / Intrinsic Characterizations: Extensions and Stereotypes / Centering / Exercise 5-3 Centering / Character Postures and Walks / Exercise 5-4 Character Walks / Character Voices / Exercise 5-5 Finding Your Voices / Character Descriptions / Exercise 5-6 Playing Out Character Descriptions / Animal Imagery / Exercise 5-7 Animate (Animalize) Your Character / Intrinsic and Reciprocal Characterization / Exercise 5-8 Character Greetings
Lesson 6: More God
Exercise 6-1 A Stanza, by God
Lesson 7: The Battle of the Sexes: Noah and His Wife
Scene 7-1 Noah and His Wife
Lesson 8: Performance: Being Public in Private
Exercise 8-1 A Performative God / Performative Aspects of Dramatic Scenes / Exercise 8-2 Performing Your Greetings and Insults / The Audience in the Theatre / Scene 8-3 The Performative Context: Oedipus and Creon / Exercise 8-4 The Performative Context: Shakespeare / Exercise 8-5 the Performative Context: Chekhov
Part II. The Scenes
Lesson 9: Greek Tragedy
Scene 9-1 Politician vs. Prophet: Oedipus and Teiresias / More Greek Scenes /
Lesson 10: The Commedia
Commedia Styles and Scripts / Commedia Performances / Commedia and Renaissance Ideals / Acting Commedia: Machiavelli's Clizia / Exercise 10-1 Commedia: Direct Address / Commedia Lazzi / Scene 10-1 Nicomaco and Sofronia / Stock Characters / More Commedia Scenes
Lesson 11: Shakespeare and the Elizabethan Theatre
Scene 11-1 The Past Made Vivid: Richard and Ann / Scansion / Verse Variations / Playing the Verse / Rhetoric / Playing and Building the Rhetoric / The Public Environment / Scene 11-2 A Merry War: Beatrice and Benedick / Shakespeare and Commedia / More Elizabethan Scenes
Lesson 12: The Theatre of Molière
Scene 12-1 Physical Comedy / Jourdain and the Philosopher / Molière and Commedia / Costume and Deportment / French Verse / Scene 12-2 Quarreling in Couplets: Alceste and Celimène /
Lesson 13: Restoration Comedy
Exercise 13-1 Restoration Speeches / Scene 13-1 Sexual Banter/
Lesson 14: The Belle Epoque
George Bernard Shaw / Exercise 14-1 Shaw's Political Speeches /
Anton Chekhov / Scene 14-1 Chekhov's Symphony of Feeling
Oscar Wilde / Scene 14-2 Wilde's Comedy of (Male) Manners / Exercise 14-3 Wilde's Comedy of (Female) Manners
Lesson 15: The Hypertheatre
Eugene Ionesco: Theater of the Absurd / Exercise 15-1 Theatre of Absurd: Mr. and Mrs. Martin
Bertolt Brecht: Theater of Distancing / Scene 15-2 Distancing in Szechuan / Verfremdung in Everyday Life
Lesson 16: Contemporary Styles
Clashing Cultures / 16-1 Prior and Harper / Clashing Subcultures / 16-2 Boy Willie and Grace / Clashing Professions / 16-3 Vivian and Jason / Solo performer, Multiple Roles
L'Envoi
A Glossary of Acting Terms
Index
Imagination / Creativity / Creativity and Imagination / Using Your Fantasies / Exercise 20-1 Cold/Hot / Exercise 20-2 Age Regression/Advancement / Exercise 20-3 Facing an Imagined Death / Exercise 20-4 Facing Love /
Lesson 21: Emotion and Acting Theory
Exercise 21-1 Playing (with) Real Emotion I / Self-Consciousness / Exercise 21-2 Playing (with) Real Emotion II / Conclusion
PART V. THE ACTOR'S TECHNIQUE
Lesson 22: Phrasing
Diction / Open-Mouthed Speaking / Exercise 22-1 A Acting with Your Teeth / Exercise 22-1 B / Exercise 22-1 C / Developing Diction / Exercise 22-2 Repeated Sentences / Exercise 22-3 Shaw Speech / Emphasis / Exercise 22-4 Change of Emphasis / Exercise 22-5 Punctuate with Emphasis / Inflection / Exercise 22-6 Inflections / Phrasing
Lesson 23: Attack
The First Word / Physical Attack / Turn-Taking / Exercise 23-1 Turn-Taking Dialog / Preparing Strong Attacks / Exercise 23-2 Action Cues
Lesson 24: Follow-Through
The Hook / Questions as Questions / Statements as Questions / Exercise
24-1 Making Questions / Statements as Statements / Exercise 24-2 Argument-Enders / Trail-offs
Lesson 25: Line Linkage
Analyzing Dialog / Rising End-Inflections / Falling End-Inflections / Attack Inflections / Pauses / Long Speeches / Exercise 25-1 Line Linking / Exercise 25-2 The Long Speech / Line Linking in Practice
Lesson 26: Scene Structure
Breaking Down a Script / Choosing a Scene to Do in Class / Structural Characteristics / Transitions / Scene Breakdown / Exercise 26-1 Scene Structure in Action
Lesson 27: Building a Scene
Building and Topping / Exercise 27-1 Standard Build I / Exercise 27-2 Standard Build II / Exercise 27-3 Standard Build III / Cutting Back / Getting on Top / Pacing a Build / Complex Builds / Exercise 27-4 I Detest Monday / Exercise 27-5 I Detest January / Exercise 27-6 Come Here / Exercise 27-7 Building Molière
Lesson 28: Creating a Monologue
Going It Alone / The Monologue to Someone Else / The Soliloquy / Playing a Monologue or Soliloquy / Exercise 28-1 Prepare a Monologue /
L'Envoi
ACTING TWO
Introduction
Terminology: Style, Character, and performance / Acting Two's Structure / A Word About Gender /
Part I. Extensions of Yourself
Lesson 1: Style
Exercise 1-1 Baby Talk / Exercise 1-2 Baby Moves / Lesson 2: Stylized Exchanges
Exercise 2-1 Pig Latin / Exercise 2-2 Speaking in (Foreign) Tongues / Exercise 2-3 Contemporary Greetings / Exercise 2-4 Making Elizabethan Greetings / Exercise 2-5 Ad-Libbing Elizabethan Greetings / Exercise 2-6 Ad-Libbing Elizabethan Insults / Exercise 2-7 Hamlet's Greeting to the Players
Lesson 3: Roses Are Red
Rhyme and Verse / Exercise 3-1 Roses Are Red / Exercise 3-2 Roses Are Redder--Take One / Eye Contact--And Looking Elsewhere / Exercise 3-3 Roses Are Redder--Take Two / Exercise 3-4 Roses Are Redder--Take Three / Thinking Your Character's Thoughts / Exercise 3-5 Roses Are Redder--Take Four / Playing the Play
Lesson 4: Playing God
Exercise 4-1 Playing God / Playing a Character
Lesson 5: Characterization
Exercise 5-1 Reciprocal Characterization: Richard and Hastings / Exercise 5-2 Intrinsic Characterization: Richard and Hastings / Intrinsic Characterizations: Extensions and Stereotypes / Centering / Exercise 5-3 Centering / Character Postures and Walks / Exercise 5-4 Character Walks / Character Voices / Exercise 5-5 Finding Your Voices / Character Descriptions / Exercise 5-6 Playing Out Character Descriptions / Animal Imagery / Exercise 5-7 Animate (Animalize) Your Character / Intrinsic and Reciprocal Characterization / Exercise 5-8 Character Greetings
Lesson 6: More God
Exercise 6-1 A Stanza, by God
Lesson 7: The Battle of the Sexes: Noah and His Wife
Scene 7-1 Noah and His Wife
Lesson 8: Performance: Being Public in Private
Exercise 8-1 A Performative God / Performative Aspects of Dramatic Scenes / Exercise 8-2 Performing Your Greetings and Insults / The Audience in the Theatre / Scene 8-3 The Performative Context: Oedipus and Creon / Exercise 8-4 The Performative Context: Shakespeare / Exercise 8-5 the Performative Context: Chekhov
Part II. The Scenes
Lesson 9: Greek Tragedy
Scene 9-1 Politician vs. Prophet: Oedipus and Teiresias / More Greek Scenes /
Lesson 10: The Commedia
Commedia Styles and Scripts / Commedia Performances / Commedia and Renaissance Ideals / Acting Commedia: Machiavelli's Clizia / Exercise 10-1 Commedia: Direct Address / Commedia Lazzi / Scene 10-1 Nicomaco and Sofronia / Stock Characters / More Commedia Scenes
Lesson 11: Shakespeare and the Elizabethan Theatre
Scene 11-1 The Past Made Vivid: Richard and Ann / Scansion / Verse Variations / Playing the Verse / Rhetoric / Playing and Building the Rhetoric / The Public Environment / Scene 11-2 A Merry War: Beatrice and Benedick / Shakespeare and Commedia / More Elizabethan Scenes
Lesson 12: The Theatre of Molière
Scene 12-1 Physical Comedy / Jourdain and the Philosopher / Molière and Commedia / Costume and Deportment / French Verse / Scene 12-2 Quarreling in Couplets: Alceste and Celimène /
Lesson 13: Restoration Comedy
Exercise 13-1 Restoration Speeches / Scene 13-1 Sexual Banter/
Lesson 14: The Belle Epoque
George Bernard Shaw / Exercise 14-1 Shaw's Political Speeches /
Anton Chekhov / Scene 14-1 Chekhov's Symphony of Feeling
Oscar Wilde / Scene 14-2 Wilde's Comedy of (Male) Manners / Exercise 14-3 Wilde's Comedy of (Female) Manners
Lesson 15: The Hypertheatre
Eugene Ionesco: Theater of the Absurd / Exercise 15-1 Theatre of Absurd: Mr. and Mrs. Martin
Bertolt Brecht: Theater of Distancing / Scene 15-2 Distancing in Szechuan / Verfremdung in Everyday Life
Lesson 16: Contemporary Styles
Clashing Cultures / 16-1 Prior and Harper / Clashing Subcultures / 16-2 Boy Willie and Grace / Clashing Professions / 16-3 Vivian and Jason / Solo performer, Multiple Roles
L'Envoi
A Glossary of Acting Terms
Index
Exercise 21-1 Playing (with) Real Emotion I / Self-Consciousness / Exercise 21-2 Playing (with) Real Emotion II / Conclusion
PART V. THE ACTOR'S TECHNIQUE
Lesson 22: Phrasing
Diction / Open-Mouthed Speaking / Exercise 22-1 A Acting with Your Teeth / Exercise 22-1 B / Exercise 22-1 C / Developing Diction / Exercise 22-2 Repeated Sentences / Exercise 22-3 Shaw Speech / Emphasis / Exercise 22-4 Change of Emphasis / Exercise 22-5 Punctuate with Emphasis / Inflection / Exercise 22-6 Inflections / Phrasing
Lesson 23: Attack
The First Word / Physical Attack / Turn-Taking / Exercise 23-1 Turn-Taking Dialog / Preparing Strong Attacks / Exercise 23-2 Action Cues
Lesson 24: Follow-Through
The Hook / Questions as Questions / Statements as Questions / Exercise
24-1 Making Questions / Statements as Statements / Exercise 24-2 Argument-Enders / Trail-offs
Lesson 25: Line Linkage
Analyzing Dialog / Rising End-Inflections / Falling End-Inflections / Attack Inflections / Pauses / Long Speeches / Exercise 25-1 Line Linking / Exercise 25-2 The Long Speech / Line Linking in Practice
Lesson 26: Scene Structure
Breaking Down a Script / Choosing a Scene to Do in Class / Structural Characteristics / Transitions / Scene Breakdown / Exercise 26-1 Scene Structure in Action
Lesson 27: Building a Scene
Building and Topping / Exercise 27-1 Standard Build I / Exercise 27-2 Standard Build II / Exercise 27-3 Standard Build III / Cutting Back / Getting on Top / Pacing a Build / Complex Builds / Exercise 27-4 I Detest Monday / Exercise 27-5 I Detest January / Exercise 27-6 Come Here / Exercise 27-7 Building Molière
Lesson 28: Creating a Monologue
Going It Alone / The Monologue to Someone Else / The Soliloquy / Playing a Monologue or Soliloquy / Exercise 28-1 Prepare a Monologue /
L'Envoi
ACTING TWO
Introduction
Terminology: Style, Character, and performance / Acting Two's Structure / A Word About Gender /
Part I. Extensions of Yourself
Lesson 1: Style
Exercise 1-1 Baby Talk / Exercise 1-2 Baby Moves / Lesson 2: Stylized Exchanges
Exercise 2-1 Pig Latin / Exercise 2-2 Speaking in (Foreign) Tongues / Exercise 2-3 Contemporary Greetings / Exercise 2-4 Making Elizabethan Greetings / Exercise 2-5 Ad-Libbing Elizabethan Greetings / Exercise 2-6 Ad-Libbing Elizabethan Insults / Exercise 2-7 Hamlet's Greeting to the Players
Lesson 3: Roses Are Red
Rhyme and Verse / Exercise 3-1 Roses Are Red / Exercise 3-2 Roses Are Redder--Take One / Eye Contact--And Looking Elsewhere / Exercise 3-3 Roses Are Redder--Take Two / Exercise 3-4 Roses Are Redder--Take Three / Thinking Your Character's Thoughts / Exercise 3-5 Roses Are Redder--Take Four / Playing the Play
Lesson 4: Playing God
Exercise 4-1 Playing God / Playing a Character
Lesson 5: Characterization
Exercise 5-1 Reciprocal Characterization: Richard and Hastings / Exercise 5-2 Intrinsic Characterization: Richard and Hastings / Intrinsic Characterizations: Extensions and Stereotypes / Centering / Exercise 5-3 Centering / Character Postures and Walks / Exercise 5-4 Character Walks / Character Voices / Exercise 5-5 Finding Your Voices / Character Descriptions / Exercise 5-6 Playing Out Character Descriptions / Animal Imagery / Exercise 5-7 Animate (Animalize) Your Character / Intrinsic and Reciprocal Characterization / Exercise 5-8 Character Greetings
Lesson 6: More God
Exercise 6-1 A Stanza, by God
Lesson 7: The Battle of the Sexes: Noah and His Wife
Scene 7-1 Noah and His Wife
Lesson 8: Performance: Being Public in Private
Exercise 8-1 A Performative God / Performative Aspects of Dramatic Scenes / Exercise 8-2 Performing Your Greetings and Insults / The Audience in the Theatre / Scene 8-3 The Performative Context: Oedipus and Creon / Exercise 8-4 The Performative Context: Shakespeare / Exercise 8-5 the Performative Context: Chekhov
Part II. The Scenes
Lesson 9: Greek Tragedy
Scene 9-1 Politician vs. Prophet: Oedipus and Teiresias / More Greek Scenes /
Lesson 10: The Commedia
Commedia Styles and Scripts / Commedia Performances / Commedia and Renaissance Ideals / Acting Commedia: Machiavelli's Clizia / Exercise 10-1 Commedia: Direct Address / Commedia Lazzi / Scene 10-1 Nicomaco and Sofronia / Stock Characters / More Commedia Scenes
Lesson 11: Shakespeare and the Elizabethan Theatre
Scene 11-1 The Past Made Vivid: Richard and Ann / Scansion / Verse Variations / Playing the Verse / Rhetoric / Playing and Building the Rhetoric / The Public Environment / Scene 11-2 A Merry War: Beatrice and Benedick / Shakespeare and Commedia / More Elizabethan Scenes
Lesson 12: The Theatre of Molière
Scene 12-1 Physical Comedy / Jourdain and the Philosopher / Molière and Commedia / Costume and Deportment / French Verse / Scene 12-2 Quarreling in Couplets: Alceste and Celimène /
Lesson 13: Restoration Comedy
Exercise 13-1 Restoration Speeches / Scene 13-1 Sexual Banter/
Lesson 14: The Belle Epoque
George Bernard Shaw / Exercise 14-1 Shaw's Political Speeches /
Anton Chekhov / Scene 14-1 Chekhov's Symphony of Feeling
Oscar Wilde / Scene 14-2 Wilde's Comedy of (Male) Manners / Exercise 14-3 Wilde's Comedy of (Female) Manners
Lesson 15: The Hypertheatre
Eugene Ionesco: Theater of the Absurd / Exercise 15-1 Theatre of Absurd: Mr. and Mrs. Martin
Bertolt Brecht: Theater of Distancing / Scene 15-2 Distancing in Szechuan / Verfremdung in Everyday Life
Lesson 16: Contemporary Styles
Clashing Cultures / 16-1 Prior and Harper / Clashing Subcultures / 16-2 Boy Willie and Grace / Clashing Professions / 16-3 Vivian and Jason / Solo performer, Multiple Roles
L'Envoi
A Glossary of Acting Terms
Index
Lesson 22: Phrasing
Diction / Open-Mouthed Speaking / Exercise 22-1 A Acting with Your Teeth / Exercise 22-1 B / Exercise 22-1 C / Developing Diction / Exercise 22-2 Repeated Sentences / Exercise 22-3 Shaw Speech / Emphasis / Exercise 22-4 Change of Emphasis / Exercise 22-5 Punctuate with Emphasis / Inflection / Exercise 22-6 Inflections / Phrasing
Lesson 23: Attack
The First Word / Physical Attack / Turn-Taking / Exercise 23-1 Turn-Taking Dialog / Preparing Strong Attacks / Exercise 23-2 Action Cues
Lesson 24: Follow-Through
The Hook / Questions as Questions / Statements as Questions / Exercise
24-1 Making Questions / Statements as Statements / Exercise 24-2 Argument-Enders / Trail-offs
Lesson 25: Line Linkage
Analyzing Dialog / Rising End-Inflections / Falling End-Inflections / Attack Inflections / Pauses / Long Speeches / Exercise 25-1 Line Linking / Exercise 25-2 The Long Speech / Line Linking in Practice
Lesson 26: Scene Structure
Breaking Down a Script / Choosing a Scene to Do in Class / Structural Characteristics / Transitions / Scene Breakdown / Exercise 26-1 Scene Structure in Action
Lesson 27: Building a Scene
Building and Topping / Exercise 27-1 Standard Build I / Exercise 27-2 Standard Build II / Exercise 27-3 Standard Build III / Cutting Back / Getting on Top / Pacing a Build / Complex Builds / Exercise 27-4 I Detest Monday / Exercise 27-5 I Detest January / Exercise 27-6 Come Here / Exercise 27-7 Building Molière
Lesson 28: Creating a Monologue
Going It Alone / The Monologue to Someone Else / The Soliloquy / Playing a Monologue or Soliloquy / Exercise 28-1 Prepare a Monologue /
L'Envoi
ACTING TWO
Introduction
Terminology: Style, Character, and performance / Acting Two's Structure / A Word About Gender /
Part I. Extensions of Yourself
Lesson 1: Style
Exercise 1-1 Baby Talk / Exercise 1-2 Baby Moves / Lesson 2: Stylized Exchanges
Exercise 2-1 Pig Latin / Exercise 2-2 Speaking in (Foreign) Tongues / Exercise 2-3 Contemporary Greetings / Exercise 2-4 Making Elizabethan Greetings / Exercise 2-5 Ad-Libbing Elizabethan Greetings / Exercise 2-6 Ad-Libbing Elizabethan Insults / Exercise 2-7 Hamlet's Greeting to the Players
Lesson 3: Roses Are Red
Rhyme and Verse / Exercise 3-1 Roses Are Red / Exercise 3-2 Roses Are Redder--Take One / Eye Contact--And Looking Elsewhere / Exercise 3-3 Roses Are Redder--Take Two / Exercise 3-4 Roses Are Redder--Take Three / Thinking Your Character's Thoughts / Exercise 3-5 Roses Are Redder--Take Four / Playing the Play
Lesson 4: Playing God
Exercise 4-1 Playing God / Playing a Character
Lesson 5: Characterization
Exercise 5-1 Reciprocal Characterization: Richard and Hastings / Exercise 5-2 Intrinsic Characterization: Richard and Hastings / Intrinsic Characterizations: Extensions and Stereotypes / Centering / Exercise 5-3 Centering / Character Postures and Walks / Exercise 5-4 Character Walks / Character Voices / Exercise 5-5 Finding Your Voices / Character Descriptions / Exercise 5-6 Playing Out Character Descriptions / Animal Imagery / Exercise 5-7 Animate (Animalize) Your Character / Intrinsic and Reciprocal Characterization / Exercise 5-8 Character Greetings
Lesson 6: More God
Exercise 6-1 A Stanza, by God
Lesson 7: The Battle of the Sexes: Noah and His Wife
Scene 7-1 Noah and His Wife
Lesson 8: Performance: Being Public in Private
Exercise 8-1 A Performative God / Performative Aspects of Dramatic Scenes / Exercise 8-2 Performing Your Greetings and Insults / The Audience in the Theatre / Scene 8-3 The Performative Context: Oedipus and Creon / Exercise 8-4 The Performative Context: Shakespeare / Exercise 8-5 the Performative Context: Chekhov
Part II. The Scenes
Lesson 9: Greek Tragedy
Scene 9-1 Politician vs. Prophet: Oedipus and Teiresias / More Greek Scenes /
Lesson 10: The Commedia
Commedia Styles and Scripts / Commedia Performances / Commedia and Renaissance Ideals / Acting Commedia: Machiavelli's Clizia / Exercise 10-1 Commedia: Direct Address / Commedia Lazzi / Scene 10-1 Nicomaco and Sofronia / Stock Characters / More Commedia Scenes
Lesson 11: Shakespeare and the Elizabethan Theatre
Scene 11-1 The Past Made Vivid: Richard and Ann / Scansion / Verse Variations / Playing the Verse / Rhetoric / Playing and Building the Rhetoric / The Public Environment / Scene 11-2 A Merry War: Beatrice and Benedick / Shakespeare and Commedia / More Elizabethan Scenes
Lesson 12: The Theatre of Molière
Scene 12-1 Physical Comedy / Jourdain and the Philosopher / Molière and Commedia / Costume and Deportment / French Verse / Scene 12-2 Quarreling in Couplets: Alceste and Celimène /
Lesson 13: Restoration Comedy
Exercise 13-1 Restoration Speeches / Scene 13-1 Sexual Banter/
Lesson 14: The Belle Epoque
George Bernard Shaw / Exercise 14-1 Shaw's Political Speeches /
Anton Chekhov / Scene 14-1 Chekhov's Symphony of Feeling
Oscar Wilde / Scene 14-2 Wilde's Comedy of (Male) Manners / Exercise 14-3 Wilde's Comedy of (Female) Manners
Lesson 15: The Hypertheatre
Eugene Ionesco: Theater of the Absurd / Exercise 15-1 Theatre of Absurd: Mr. and Mrs. Martin
Bertolt Brecht: Theater of Distancing / Scene 15-2 Distancing in Szechuan / Verfremdung in Everyday Life
Lesson 16: Contemporary Styles
Clashing Cultures / 16-1 Prior and Harper / Clashing Subcultures / 16-2 Boy Willie and Grace / Clashing Professions / 16-3 Vivian and Jason / Solo performer, Multiple Roles
L'Envoi
A Glossary of Acting Terms
Index
Lesson 23: Attack
The First Word / Physical Attack / Turn-Taking / Exercise 23-1 Turn-Taking Dialog / Preparing Strong Attacks / Exercise 23-2 Action Cues
Lesson 24: Follow-Through
The Hook / Questions as Questions / Statements as Questions / Exercise
24-1 Making Questions / Statements as Statements / Exercise 24-2 Argument-Enders / Trail-offs
Lesson 25: Line Linkage
Analyzing Dialog / Rising End-Inflections / Falling End-Inflections / Attack Inflections / Pauses / Long Speeches / Exercise 25-1 Line Linking / Exercise 25-2 The Long Speech / Line Linking in Practice
Lesson 26: Scene Structure
Breaking Down a Script / Choosing a Scene to Do in Class / Structural Characteristics / Transitions / Scene Breakdown / Exercise 26-1 Scene Structure in Action
Lesson 27: Building a Scene
Building and Topping / Exercise 27-1 Standard Build I / Exercise 27-2 Standard Build II / Exercise 27-3 Standard Build III / Cutting Back / Getting on Top / Pacing a Build / Complex Builds / Exercise 27-4 I Detest Monday / Exercise 27-5 I Detest January / Exercise 27-6 Come Here / Exercise 27-7 Building Molière
Lesson 28: Creating a Monologue
Going It Alone / The Monologue to Someone Else / The Soliloquy / Playing a Monologue or Soliloquy / Exercise 28-1 Prepare a Monologue /
L'Envoi
ACTING TWO
Introduction
Terminology: Style, Character, and performance / Acting Two's Structure / A Word About Gender /
Part I. Extensions of Yourself
Lesson 1: Style
Exercise 1-1 Baby Talk / Exercise 1-2 Baby Moves / Lesson 2: Stylized Exchanges
Exercise 2-1 Pig Latin / Exercise 2-2 Speaking in (Foreign) Tongues / Exercise 2-3 Contemporary Greetings / Exercise 2-4 Making Elizabethan Greetings / Exercise 2-5 Ad-Libbing Elizabethan Greetings / Exercise 2-6 Ad-Libbing Elizabethan Insults / Exercise 2-7 Hamlet's Greeting to the Players
Lesson 3: Roses Are Red
Rhyme and Verse / Exercise 3-1 Roses Are Red / Exercise 3-2 Roses Are Redder--Take One / Eye Contact--And Looking Elsewhere / Exercise 3-3 Roses Are Redder--Take Two / Exercise 3-4 Roses Are Redder--Take Three / Thinking Your Character's Thoughts / Exercise 3-5 Roses Are Redder--Take Four / Playing the Play
Lesson 4: Playing God
Exercise 4-1 Playing God / Playing a Character
Lesson 5: Characterization
Exercise 5-1 Reciprocal Characterization: Richard and Hastings / Exercise 5-2 Intrinsic Characterization: Richard and Hastings / Intrinsic Characterizations: Extensions and Stereotypes / Centering / Exercise 5-3 Centering / Character Postures and Walks / Exercise 5-4 Character Walks / Character Voices / Exercise 5-5 Finding Your Voices / Character Descriptions / Exercise 5-6 Playing Out Character Descriptions / Animal Imagery / Exercise 5-7 Animate (Animalize) Your Character / Intrinsic and Reciprocal Characterization / Exercise 5-8 Character Greetings
Lesson 6: More God
Exercise 6-1 A Stanza, by God
Lesson 7: The Battle of the Sexes: Noah and His Wife
Scene 7-1 Noah and His Wife
Lesson 8: Performance: Being Public in Private
Exercise 8-1 A Performative God / Performative Aspects of Dramatic Scenes / Exercise 8-2 Performing Your Greetings and Insults / The Audience in the Theatre / Scene 8-3 The Performative Context: Oedipus and Creon / Exercise 8-4 The Performative Context: Shakespeare / Exercise 8-5 the Performative Context: Chekhov
Part II. The Scenes
Lesson 9: Greek Tragedy
Scene 9-1 Politician vs. Prophet: Oedipus and Teiresias / More Greek Scenes /
Lesson 10: The Commedia
Commedia Styles and Scripts / Commedia Performances / Commedia and Renaissance Ideals / Acting Commedia: Machiavelli's Clizia / Exercise 10-1 Commedia: Direct Address / Commedia Lazzi / Scene 10-1 Nicomaco and Sofronia / Stock Characters / More Commedia Scenes
Lesson 11: Shakespeare and the Elizabethan Theatre
Scene 11-1 The Past Made Vivid: Richard and Ann / Scansion / Verse Variations / Playing the Verse / Rhetoric / Playing and Building the Rhetoric / The Public Environment / Scene 11-2 A Merry War: Beatrice and Benedick / Shakespeare and Commedia / More Elizabethan Scenes
Lesson 12: The Theatre of Molière
Scene 12-1 Physical Comedy / Jourdain and the Philosopher / Molière and Commedia / Costume and Deportment / French Verse / Scene 12-2 Quarreling in Couplets: Alceste and Celimène /
Lesson 13: Restoration Comedy
Exercise 13-1 Restoration Speeches / Scene 13-1 Sexual Banter/
Lesson 14: The Belle Epoque
George Bernard Shaw / Exercise 14-1 Shaw's Political Speeches /
Anton Chekhov / Scene 14-1 Chekhov's Symphony of Feeling
Oscar Wilde / Scene 14-2 Wilde's Comedy of (Male) Manners / Exercise 14-3 Wilde's Comedy of (Female) Manners
Lesson 15: The Hypertheatre
Eugene Ionesco: Theater of the Absurd / Exercise 15-1 Theatre of Absurd: Mr. and Mrs. Martin
Bertolt Brecht: Theater of Distancing / Scene 15-2 Distancing in Szechuan / Verfremdung in Everyday Life
Lesson 16: Contemporary Styles
Clashing Cultures / 16-1 Prior and Harper / Clashing Subcultures / 16-2 Boy Willie and Grace / Clashing Professions / 16-3 Vivian and Jason / Solo performer, Multiple Roles
L'Envoi
A Glossary of Acting Terms
Index
Lesson 24: Follow-Through
The Hook / Questions as Questions / Statements as Questions / Exercise
24-1 Making Questions / Statements as Statements / Exercise 24-2 Argument-Enders / Trail-offs
Lesson 25: Line Linkage
Analyzing Dialog / Rising End-Inflections / Falling End-Inflections / Attack Inflections / Pauses / Long Speeches / Exercise 25-1 Line Linking / Exercise 25-2 The Long Speech / Line Linking in Practice
Lesson 26: Scene Structure
Breaking Down a Script / Choosing a Scene to Do in Class / Structural Characteristics / Transitions / Scene Breakdown / Exercise 26-1 Scene Structure in Action
Lesson 27: Building a Scene
Building and Topping / Exercise 27-1 Standard Build I / Exercise 27-2 Standard Build II / Exercise 27-3 Standard Build III / Cutting Back / Getting on Top / Pacing a Build / Complex Builds / Exercise 27-4 I Detest Monday / Exercise 27-5 I Detest January / Exercise 27-6 Come Here / Exercise 27-7 Building Molière
Lesson 28: Creating a Monologue
Going It Alone / The Monologue to Someone Else / The Soliloquy / Playing a Monologue or Soliloquy / Exercise 28-1 Prepare a Monologue /
L'Envoi
ACTING TWO
Introduction
Terminology: Style, Character, and performance / Acting Two's Structure / A Word About Gender /
Part I. Extensions of Yourself
Lesson 1: Style
Exercise 1-1 Baby Talk / Exercise 1-2 Baby Moves / Lesson 2: Stylized Exchanges
Exercise 2-1 Pig Latin / Exercise 2-2 Speaking in (Foreign) Tongues / Exercise 2-3 Contemporary Greetings / Exercise 2-4 Making Elizabethan Greetings / Exercise 2-5 Ad-Libbing Elizabethan Greetings / Exercise 2-6 Ad-Libbing Elizabethan Insults / Exercise 2-7 Hamlet's Greeting to the Players
Lesson 3: Roses Are Red
Rhyme and Verse / Exercise 3-1 Roses Are Red / Exercise 3-2 Roses Are Redder--Take One / Eye Contact--And Looking Elsewhere / Exercise 3-3 Roses Are Redder--Take Two / Exercise 3-4 Roses Are Redder--Take Three / Thinking Your Character's Thoughts / Exercise 3-5 Roses Are Redder--Take Four / Playing the Play
Lesson 4: Playing God
Exercise 4-1 Playing God / Playing a Character
Lesson 5: Characterization
Exercise 5-1 Reciprocal Characterization: Richard and Hastings / Exercise 5-2 Intrinsic Characterization: Richard and Hastings / Intrinsic Characterizations: Extensions and Stereotypes / Centering / Exercise 5-3 Centering / Character Postures and Walks / Exercise 5-4 Character Walks / Character Voices / Exercise 5-5 Finding Your Voices / Character Descriptions / Exercise 5-6 Playing Out Character Descriptions / Animal Imagery / Exercise 5-7 Animate (Animalize) Your Character / Intrinsic and Reciprocal Characterization / Exercise 5-8 Character Greetings
Lesson 6: More God
Exercise 6-1 A Stanza, by God
Lesson 7: The Battle of the Sexes: Noah and His Wife
Scene 7-1 Noah and His Wife
Lesson 8: Performance: Being Public in Private
Exercise 8-1 A Performative God / Performative Aspects of Dramatic Scenes / Exercise 8-2 Performing Your Greetings and Insults / The Audience in the Theatre / Scene 8-3 The Performative Context: Oedipus and Creon / Exercise 8-4 The Performative Context: Shakespeare / Exercise 8-5 the Performative Context: Chekhov
Part II. The Scenes
Lesson 9: Greek Tragedy
Scene 9-1 Politician vs. Prophet: Oedipus and Teiresias / More Greek Scenes /
Lesson 10: The Commedia
Commedia Styles and Scripts / Commedia Performances / Commedia and Renaissance Ideals / Acting Commedia: Machiavelli's Clizia / Exercise 10-1 Commedia: Direct Address / Commedia Lazzi / Scene 10-1 Nicomaco and Sofronia / Stock Characters / More Commedia Scenes
Lesson 11: Shakespeare and the Elizabethan Theatre
Scene 11-1 The Past Made Vivid: Richard and Ann / Scansion / Verse Variations / Playing the Verse / Rhetoric / Playing and Building the Rhetoric / The Public Environment / Scene 11-2 A Merry War: Beatrice and Benedick / Shakespeare and Commedia / More Elizabethan Scenes
Lesson 12: The Theatre of Molière
Scene 12-1 Physical Comedy / Jourdain and the Philosopher / Molière and Commedia / Costume and Deportment / French Verse / Scene 12-2 Quarreling in Couplets: Alceste and Celimène /
Lesson 13: Restoration Comedy
Exercise 13-1 Restoration Speeches / Scene 13-1 Sexual Banter/
Lesson 14: The Belle Epoque
George Bernard Shaw / Exercise 14-1 Shaw's Political Speeches /
Anton Chekhov / Scene 14-1 Chekhov's Symphony of Feeling
Oscar Wilde / Scene 14-2 Wilde's Comedy of (Male) Manners / Exercise 14-3 Wilde's Comedy of (Female) Manners
Lesson 15: The Hypertheatre
Eugene Ionesco: Theater of the Absurd / Exercise 15-1 Theatre of Absurd: Mr. and Mrs. Martin
Bertolt Brecht: Theater of Distancing / Scene 15-2 Distancing in Szechuan / Verfremdung in Everyday Life
Lesson 16: Contemporary Styles
Clashing Cultures / 16-1 Prior and Harper / Clashing Subcultures / 16-2 Boy Willie and Grace / Clashing Professions / 16-3 Vivian and Jason / Solo performer, Multiple Roles
L'Envoi
A Glossary of Acting Terms
Index
Lesson 25: Line Linkage
Analyzing Dialog / Rising End-Inflections / Falling End-Inflections / Attack Inflections / Pauses / Long Speeches / Exercise 25-1 Line Linking / Exercise 25-2 The Long Speech / Line Linking in Practice
Lesson 26: Scene Structure
Breaking Down a Script / Choosing a Scene to Do in Class / Structural Characteristics / Transitions / Scene Breakdown / Exercise 26-1 Scene Structure in Action
Lesson 27: Building a Scene
Building and Topping / Exercise 27-1 Standard Build I / Exercise 27-2 Standard Build II / Exercise 27-3 Standard Build III / Cutting Back / Getting on Top / Pacing a Build / Complex Builds / Exercise 27-4 I Detest Monday / Exercise 27-5 I Detest January / Exercise 27-6 Come Here / Exercise 27-7 Building Molière
Lesson 28: Creating a Monologue
Going It Alone / The Monologue to Someone Else / The Soliloquy / Playing a Monologue or Soliloquy / Exercise 28-1 Prepare a Monologue /
L'Envoi
ACTING TWO
Introduction
Terminology: Style, Character, and performance / Acting Two's Structure / A Word About Gender /
Part I. Extensions of Yourself
Lesson 1: Style
Exercise 1-1 Baby Talk / Exercise 1-2 Baby Moves / Lesson 2: Stylized Exchanges
Exercise 2-1 Pig Latin / Exercise 2-2 Speaking in (Foreign) Tongues / Exercise 2-3 Contemporary Greetings / Exercise 2-4 Making Elizabethan Greetings / Exercise 2-5 Ad-Libbing Elizabethan Greetings / Exercise 2-6 Ad-Libbing Elizabethan Insults / Exercise 2-7 Hamlet's Greeting to the Players
Lesson 3: Roses Are Red
Rhyme and Verse / Exercise 3-1 Roses Are Red / Exercise 3-2 Roses Are Redder--Take One / Eye Contact--And Looking Elsewhere / Exercise 3-3 Roses Are Redder--Take Two / Exercise 3-4 Roses Are Redder--Take Three / Thinking Your Character's Thoughts / Exercise 3-5 Roses Are Redder--Take Four / Playing the Play
Lesson 4: Playing God
Exercise 4-1 Playing God / Playing a Character
Lesson 5: Characterization
Exercise 5-1 Reciprocal Characterization: Richard and Hastings / Exercise 5-2 Intrinsic Characterization: Richard and Hastings / Intrinsic Characterizations: Extensions and Stereotypes / Centering / Exercise 5-3 Centering / Character Postures and Walks / Exercise 5-4 Character Walks / Character Voices / Exercise 5-5 Finding Your Voices / Character Descriptions / Exercise 5-6 Playing Out Character Descriptions / Animal Imagery / Exercise 5-7 Animate (Animalize) Your Character / Intrinsic and Reciprocal Characterization / Exercise 5-8 Character Greetings
Lesson 6: More God
Exercise 6-1 A Stanza, by God
Lesson 7: The Battle of the Sexes: Noah and His Wife
Scene 7-1 Noah and His Wife
Lesson 8: Performance: Being Public in Private
Exercise 8-1 A Performative God / Performative Aspects of Dramatic Scenes / Exercise 8-2 Performing Your Greetings and Insults / The Audience in the Theatre / Scene 8-3 The Performative Context: Oedipus and Creon / Exercise 8-4 The Performative Context: Shakespeare / Exercise 8-5 the Performative Context: Chekhov
Part II. The Scenes
Lesson 9: Greek Tragedy
Scene 9-1 Politician vs. Prophet: Oedipus and Teiresias / More Greek Scenes /
Lesson 10: The Commedia
Commedia Styles and Scripts / Commedia Performances / Commedia and Renaissance Ideals / Acting Commedia: Machiavelli's Clizia / Exercise 10-1 Commedia: Direct Address / Commedia Lazzi / Scene 10-1 Nicomaco and Sofronia / Stock Characters / More Commedia Scenes
Lesson 11: Shakespeare and the Elizabethan Theatre
Scene 11-1 The Past Made Vivid: Richard and Ann / Scansion / Verse Variations / Playing the Verse / Rhetoric / Playing and Building the Rhetoric / The Public Environment / Scene 11-2 A Merry War: Beatrice and Benedick / Shakespeare and Commedia / More Elizabethan Scenes
Lesson 12: The Theatre of Molière
Scene 12-1 Physical Comedy / Jourdain and the Philosopher / Molière and Commedia / Costume and Deportment / French Verse / Scene 12-2 Quarreling in Couplets: Alceste and Celimène /
Lesson 13: Restoration Comedy
Exercise 13-1 Restoration Speeches / Scene 13-1 Sexual Banter/
Lesson 14: The Belle Epoque
George Bernard Shaw / Exercise 14-1 Shaw's Political Speeches /
Anton Chekhov / Scene 14-1 Chekhov's Symphony of Feeling
Oscar Wilde / Scene 14-2 Wilde's Comedy of (Male) Manners / Exercise 14-3 Wilde's Comedy of (Female) Manners
Lesson 15: The Hypertheatre
Eugene Ionesco: Theater of the Absurd / Exercise 15-1 Theatre of Absurd: Mr. and Mrs. Martin
Bertolt Brecht: Theater of Distancing / Scene 15-2 Distancing in Szechuan / Verfremdung in Everyday Life
Lesson 16: Contemporary Styles
Clashing Cultures / 16-1 Prior and Harper / Clashing Subcultures / 16-2 Boy Willie and Grace / Clashing Professions / 16-3 Vivian and Jason / Solo performer, Multiple Roles
L'Envoi
A Glossary of Acting Terms
Index
Lesson 26: Scene Structure
Breaking Down a Script / Choosing a Scene to Do in Class / Structural Characteristics / Transitions / Scene Breakdown / Exercise 26-1 Scene Structure in Action
Lesson 27: Building a Scene
Building and Topping / Exercise 27-1 Standard Build I / Exercise 27-2 Standard Build II / Exercise 27-3 Standard Build III / Cutting Back / Getting on Top / Pacing a Build / Complex Builds / Exercise 27-4 I Detest Monday / Exercise 27-5 I Detest January / Exercise 27-6 Come Here / Exercise 27-7 Building Molière
Lesson 28: Creating a Monologue
Going It Alone / The Monologue to Someone Else / The Soliloquy / Playing a Monologue or Soliloquy / Exercise 28-1 Prepare a Monologue /
L'Envoi
ACTING TWO
Introduction
Terminology: Style, Character, and performance / Acting Two's Structure / A Word About Gender /
Part I. Extensions of Yourself
Lesson 1: Style
Exercise 1-1 Baby Talk / Exercise 1-2 Baby Moves / Lesson 2: Stylized Exchanges
Exercise 2-1 Pig Latin / Exercise 2-2 Speaking in (Foreign) Tongues / Exercise 2-3 Contemporary Greetings / Exercise 2-4 Making Elizabethan Greetings / Exercise 2-5 Ad-Libbing Elizabethan Greetings / Exercise 2-6 Ad-Libbing Elizabethan Insults / Exercise 2-7 Hamlet's Greeting to the Players
Lesson 3: Roses Are Red
Rhyme and Verse / Exercise 3-1 Roses Are Red / Exercise 3-2 Roses Are Redder--Take One / Eye Contact--And Looking Elsewhere / Exercise 3-3 Roses Are Redder--Take Two / Exercise 3-4 Roses Are Redder--Take Three / Thinking Your Character's Thoughts / Exercise 3-5 Roses Are Redder--Take Four / Playing the Play
Lesson 4: Playing God
Exercise 4-1 Playing God / Playing a Character
Lesson 5: Characterization
Exercise 5-1 Reciprocal Characterization: Richard and Hastings / Exercise 5-2 Intrinsic Characterization: Richard and Hastings / Intrinsic Characterizations: Extensions and Stereotypes / Centering / Exercise 5-3 Centering / Character Postures and Walks / Exercise 5-4 Character Walks / Character Voices / Exercise 5-5 Finding Your Voices / Character Descriptions / Exercise 5-6 Playing Out Character Descriptions / Animal Imagery / Exercise 5-7 Animate (Animalize) Your Character / Intrinsic and Reciprocal Characterization / Exercise 5-8 Character Greetings
Lesson 6: More God
Exercise 6-1 A Stanza, by God
Lesson 7: The Battle of the Sexes: Noah and His Wife
Scene 7-1 Noah and His Wife
Lesson 8: Performance: Being Public in Private
Exercise 8-1 A Performative God / Performative Aspects of Dramatic Scenes / Exercise 8-2 Performing Your Greetings and Insults / The Audience in the Theatre / Scene 8-3 The Performative Context: Oedipus and Creon / Exercise 8-4 The Performative Context: Shakespeare / Exercise 8-5 the Performative Context: Chekhov
Part II. The Scenes
Lesson 9: Greek Tragedy
Scene 9-1 Politician vs. Prophet: Oedipus and Teiresias / More Greek Scenes /
Lesson 10: The Commedia
Commedia Styles and Scripts / Commedia Performances / Commedia and Renaissance Ideals / Acting Commedia: Machiavelli's Clizia / Exercise 10-1 Commedia: Direct Address / Commedia Lazzi / Scene 10-1 Nicomaco and Sofronia / Stock Characters / More Commedia Scenes
Lesson 11: Shakespeare and the Elizabethan Theatre
Scene 11-1 The Past Made Vivid: Richard and Ann / Scansion / Verse Variations / Playing the Verse / Rhetoric / Playing and Building the Rhetoric / The Public Environment / Scene 11-2 A Merry War: Beatrice and Benedick / Shakespeare and Commedia / More Elizabethan Scenes
Lesson 12: The Theatre of Molière
Scene 12-1 Physical Comedy / Jourdain and the Philosopher / Molière and Commedia / Costume and Deportment / French Verse / Scene 12-2 Quarreling in Couplets: Alceste and Celimène /
Lesson 13: Restoration Comedy
Exercise 13-1 Restoration Speeches / Scene 13-1 Sexual Banter/
Lesson 14: The Belle Epoque
George Bernard Shaw / Exercise 14-1 Shaw's Political Speeches /
Anton Chekhov / Scene 14-1 Chekhov's Symphony of Feeling
Oscar Wilde / Scene 14-2 Wilde's Comedy of (Male) Manners / Exercise 14-3 Wilde's Comedy of (Female) Manners
Lesson 15: The Hypertheatre
Eugene Ionesco: Theater of the Absurd / Exercise 15-1 Theatre of Absurd: Mr. and Mrs. Martin
Bertolt Brecht: Theater of Distancing / Scene 15-2 Distancing in Szechuan / Verfremdung in Everyday Life
Lesson 16: Contemporary Styles
Clashing Cultures / 16-1 Prior and Harper / Clashing Subcultures / 16-2 Boy Willie and Grace / Clashing Professions / 16-3 Vivian and Jason / Solo performer, Multiple Roles
L'Envoi
A Glossary of Acting Terms
Index
Lesson 27: Building a Scene
Building and Topping / Exercise 27-1 Standard Build I / Exercise 27-2 Standard Build II / Exercise 27-3 Standard Build III / Cutting Back / Getting on Top / Pacing a Build / Complex Builds / Exercise 27-4 I Detest Monday / Exercise 27-5 I Detest January / Exercise 27-6 Come Here / Exercise 27-7 Building Molière
Lesson 28: Creating a Monologue
Going It Alone / The Monologue to Someone Else / The Soliloquy / Playing a Monologue or Soliloquy / Exercise 28-1 Prepare a Monologue /
L'Envoi
ACTING TWO
Introduction
Terminology: Style, Character, and performance / Acting Two's Structure / A Word About Gender /
Part I. Extensions of Yourself
Lesson 1: Style
Exercise 1-1 Baby Talk / Exercise 1-2 Baby Moves / Lesson 2: Stylized Exchanges
Exercise 2-1 Pig Latin / Exercise 2-2 Speaking in (Foreign) Tongues / Exercise 2-3 Contemporary Greetings / Exercise 2-4 Making Elizabethan Greetings / Exercise 2-5 Ad-Libbing Elizabethan Greetings / Exercise 2-6 Ad-Libbing Elizabethan Insults / Exercise 2-7 Hamlet's Greeting to the Players
Lesson 3: Roses Are Red
Rhyme and Verse / Exercise 3-1 Roses Are Red / Exercise 3-2 Roses Are Redder--Take One / Eye Contact--And Looking Elsewhere / Exercise 3-3 Roses Are Redder--Take Two / Exercise 3-4 Roses Are Redder--Take Three / Thinking Your Character's Thoughts / Exercise 3-5 Roses Are Redder--Take Four / Playing the Play
Lesson 4: Playing God
Exercise 4-1 Playing God / Playing a Character
Lesson 5: Characterization
Exercise 5-1 Reciprocal Characterization: Richard and Hastings / Exercise 5-2 Intrinsic Characterization: Richard and Hastings / Intrinsic Characterizations: Extensions and Stereotypes / Centering / Exercise 5-3 Centering / Character Postures and Walks / Exercise 5-4 Character Walks / Character Voices / Exercise 5-5 Finding Your Voices / Character Descriptions / Exercise 5-6 Playing Out Character Descriptions / Animal Imagery / Exercise 5-7 Animate (Animalize) Your Character / Intrinsic and Reciprocal Characterization / Exercise 5-8 Character Greetings
Lesson 6: More God
Exercise 6-1 A Stanza, by God
Lesson 7: The Battle of the Sexes: Noah and His Wife
Scene 7-1 Noah and His Wife
Lesson 8: Performance: Being Public in Private
Exercise 8-1 A Performative God / Performative Aspects of Dramatic Scenes / Exercise 8-2 Performing Your Greetings and Insults / The Audience in the Theatre / Scene 8-3 The Performative Context: Oedipus and Creon / Exercise 8-4 The Performative Context: Shakespeare / Exercise 8-5 the Performative Context: Chekhov
Part II. The Scenes
Lesson 9: Greek Tragedy
Scene 9-1 Politician vs. Prophet: Oedipus and Teiresias / More Greek Scenes /
Lesson 10: The Commedia
Commedia Styles and Scripts / Commedia Performances / Commedia and Renaissance Ideals / Acting Commedia: Machiavelli's Clizia / Exercise 10-1 Commedia: Direct Address / Commedia Lazzi / Scene 10-1 Nicomaco and Sofronia / Stock Characters / More Commedia Scenes
Lesson 11: Shakespeare and the Elizabethan Theatre
Scene 11-1 The Past Made Vivid: Richard and Ann / Scansion / Verse Variations / Playing the Verse / Rhetoric / Playing and Building the Rhetoric / The Public Environment / Scene 11-2 A Merry War: Beatrice and Benedick / Shakespeare and Commedia / More Elizabethan Scenes
Lesson 12: The Theatre of Molière
Scene 12-1 Physical Comedy / Jourdain and the Philosopher / Molière and Commedia / Costume and Deportment / French Verse / Scene 12-2 Quarreling in Couplets: Alceste and Celimène /
Lesson 13: Restoration Comedy
Exercise 13-1 Restoration Speeches / Scene 13-1 Sexual Banter/
Lesson 14: The Belle Epoque
George Bernard Shaw / Exercise 14-1 Shaw's Political Speeches /
Anton Chekhov / Scene 14-1 Chekhov's Symphony of Feeling
Oscar Wilde / Scene 14-2 Wilde's Comedy of (Male) Manners / Exercise 14-3 Wilde's Comedy of (Female) Manners
Lesson 15: The Hypertheatre
Eugene Ionesco: Theater of the Absurd / Exercise 15-1 Theatre of Absurd: Mr. and Mrs. Martin
Bertolt Brecht: Theater of Distancing / Scene 15-2 Distancing in Szechuan / Verfremdung in Everyday Life
Lesson 16: Contemporary Styles
Clashing Cultures / 16-1 Prior and Harper / Clashing Subcultures / 16-2 Boy Willie and Grace / Clashing Professions / 16-3 Vivian and Jason / Solo performer, Multiple Roles
L'Envoi
A Glossary of Acting Terms
Index
Lesson 28: Creating a Monologue
Going It Alone / The Monologue to Someone Else / The Soliloquy / Playing a Monologue or Soliloquy / Exercise 28-1 Prepare a Monologue /
L'Envoi
ACTING TWO
Introduction
Terminology: Style, Character, and performance / Acting Two's Structure / A Word About Gender /
Part I. Extensions of Yourself
Lesson 1: Style
Exercise 1-1 Baby Talk / Exercise 1-2 Baby Moves / Lesson 2: Stylized Exchanges
Exercise 2-1 Pig Latin / Exercise 2-2 Speaking in (Foreign) Tongues / Exercise 2-3 Contemporary Greetings / Exercise 2-4 Making Elizabethan Greetings / Exercise 2-5 Ad-Libbing Elizabethan Greetings / Exercise 2-6 Ad-Libbing Elizabethan Insults / Exercise 2-7 Hamlet's Greeting to the Players
Lesson 3: Roses Are Red
Rhyme and Verse / Exercise 3-1 Roses Are Red / Exercise 3-2 Roses Are Redder--Take One / Eye Contact--And Looking Elsewhere / Exercise 3-3 Roses Are Redder--Take Two / Exercise 3-4 Roses Are Redder--Take Three / Thinking Your Character's Thoughts / Exercise 3-5 Roses Are Redder--Take Four / Playing the Play
Lesson 4: Playing God
Exercise 4-1 Playing God / Playing a Character
Lesson 5: Characterization
Exercise 5-1 Reciprocal Characterization: Richard and Hastings / Exercise 5-2 Intrinsic Characterization: Richard and Hastings / Intrinsic Characterizations: Extensions and Stereotypes / Centering / Exercise 5-3 Centering / Character Postures and Walks / Exercise 5-4 Character Walks / Character Voices / Exercise 5-5 Finding Your Voices / Character Descriptions / Exercise 5-6 Playing Out Character Descriptions / Animal Imagery / Exercise 5-7 Animate (Animalize) Your Character / Intrinsic and Reciprocal Characterization / Exercise 5-8 Character Greetings
Lesson 6: More God
Exercise 6-1 A Stanza, by God
Lesson 7: The Battle of the Sexes: Noah and His Wife
Scene 7-1 Noah and His Wife
Lesson 8: Performance: Being Public in Private
Exercise 8-1 A Performative God / Performative Aspects of Dramatic Scenes / Exercise 8-2 Performing Your Greetings and Insults / The Audience in the Theatre / Scene 8-3 The Performative Context: Oedipus and Creon / Exercise 8-4 The Performative Context: Shakespeare / Exercise 8-5 the Performative Context: Chekhov
Part II. The Scenes
Lesson 9: Greek Tragedy
Scene 9-1 Politician vs. Prophet: Oedipus and Teiresias / More Greek Scenes /
Lesson 10: The Commedia
Commedia Styles and Scripts / Commedia Performances / Commedia and Renaissance Ideals / Acting Commedia: Machiavelli's Clizia / Exercise 10-1 Commedia: Direct Address / Commedia Lazzi / Scene 10-1 Nicomaco and Sofronia / Stock Characters / More Commedia Scenes
Lesson 11: Shakespeare and the Elizabethan Theatre
Scene 11-1 The Past Made Vivid: Richard and Ann / Scansion / Verse Variations / Playing the Verse / Rhetoric / Playing and Building the Rhetoric / The Public Environment / Scene 11-2 A Merry War: Beatrice and Benedick / Shakespeare and Commedia / More Elizabethan Scenes
Lesson 12: The Theatre of Molière
Scene 12-1 Physical Comedy / Jourdain and the Philosopher / Molière and Commedia / Costume and Deportment / French Verse / Scene 12-2 Quarreling in Couplets: Alceste and Celimène /
Lesson 13: Restoration Comedy
Exercise 13-1 Restoration Speeches / Scene 13-1 Sexual Banter/
Lesson 14: The Belle Epoque
George Bernard Shaw / Exercise 14-1 Shaw's Political Speeches /
Anton Chekhov / Scene 14-1 Chekhov's Symphony of Feeling
Oscar Wilde / Scene 14-2 Wilde's Comedy of (Male) Manners / Exercise 14-3 Wilde's Comedy of (Female) Manners
Lesson 15: The Hypertheatre
Eugene Ionesco: Theater of the Absurd / Exercise 15-1 Theatre of Absurd: Mr. and Mrs. Martin
Bertolt Brecht: Theater of Distancing / Scene 15-2 Distancing in Szechuan / Verfremdung in Everyday Life
Lesson 16: Contemporary Styles
Clashing Cultures / 16-1 Prior and Harper / Clashing Subcultures / 16-2 Boy Willie and Grace / Clashing Professions / 16-3 Vivian and Jason / Solo performer, Multiple Roles
L'Envoi
A Glossary of Acting Terms
Index
L'Envoi
ACTING TWO
Introduction
Terminology: Style, Character, and performance / Acting Two's Structure / A Word About Gender /
Part I. Extensions of Yourself
Lesson 1: Style
Exercise 1-1 Baby Talk / Exercise 1-2 Baby Moves / Lesson 2: Stylized Exchanges
Exercise 2-1 Pig Latin / Exercise 2-2 Speaking in (Foreign) Tongues / Exercise 2-3 Contemporary Greetings / Exercise 2-4 Making Elizabethan Greetings / Exercise 2-5 Ad-Libbing Elizabethan Greetings / Exercise 2-6 Ad-Libbing Elizabethan Insults / Exercise 2-7 Hamlet's Greeting to the Players
Lesson 3: Roses Are Red
Rhyme and Verse / Exercise 3-1 Roses Are Red / Exercise 3-2 Roses Are Redder--Take One / Eye Contact--And Looking Elsewhere / Exercise 3-3 Roses Are Redder--Take Two / Exercise 3-4 Roses Are Redder--Take Three / Thinking Your Character's Thoughts / Exercise 3-5 Roses Are Redder--Take Four / Playing the Play
Lesson 4: Playing God
Exercise 4-1 Playing God / Playing a Character
Lesson 5: Characterization
Exercise 5-1 Reciprocal Characterization: Richard and Hastings / Exercise 5-2 Intrinsic Characterization: Richard and Hastings / Intrinsic Characterizations: Extensions and Stereotypes / Centering / Exercise 5-3 Centering / Character Postures and Walks / Exercise 5-4 Character Walks / Character Voices / Exercise 5-5 Finding Your Voices / Character Descriptions / Exercise 5-6 Playing Out Character Descriptions / Animal Imagery / Exercise 5-7 Animate (Animalize) Your Character / Intrinsic and Reciprocal Characterization / Exercise 5-8 Character Greetings
Lesson 6: More God
Exercise 6-1 A Stanza, by God
Lesson 7: The Battle of the Sexes: Noah and His Wife
Scene 7-1 Noah and His Wife
Lesson 8: Performance: Being Public in Private
Exercise 8-1 A Performative God / Performative Aspects of Dramatic Scenes / Exercise 8-2 Performing Your Greetings and Insults / The Audience in the Theatre / Scene 8-3 The Performative Context: Oedipus and Creon / Exercise 8-4 The Performative Context: Shakespeare / Exercise 8-5 the Performative Context: Chekhov
Part II. The Scenes
Lesson 9: Greek Tragedy
Scene 9-1 Politician vs. Prophet: Oedipus and Teiresias / More Greek Scenes /
Lesson 10: The Commedia
Commedia Styles and Scripts / Commedia Performances / Commedia and Renaissance Ideals / Acting Commedia: Machiavelli's Clizia / Exercise 10-1 Commedia: Direct Address / Commedia Lazzi / Scene 10-1 Nicomaco and Sofronia / Stock Characters / More Commedia Scenes
Lesson 11: Shakespeare and the Elizabethan Theatre
Scene 11-1 The Past Made Vivid: Richard and Ann / Scansion / Verse Variations / Playing the Verse / Rhetoric / Playing and Building the Rhetoric / The Public Environment / Scene 11-2 A Merry War: Beatrice and Benedick / Shakespeare and Commedia / More Elizabethan Scenes
Lesson 12: The Theatre of Molière
Scene 12-1 Physical Comedy / Jourdain and the Philosopher / Molière and Commedia / Costume and Deportment / French Verse / Scene 12-2 Quarreling in Couplets: Alceste and Celimène /
Lesson 13: Restoration Comedy
Exercise 13-1 Restoration Speeches / Scene 13-1 Sexual Banter/
Lesson 14: The Belle Epoque
George Bernard Shaw / Exercise 14-1 Shaw's Political Speeches /
Anton Chekhov / Scene 14-1 Chekhov's Symphony of Feeling
Oscar Wilde / Scene 14-2 Wilde's Comedy of (Male) Manners / Exercise 14-3 Wilde's Comedy of (Female) Manners
Lesson 15: The Hypertheatre
Eugene Ionesco: Theater of the Absurd / Exercise 15-1 Theatre of Absurd: Mr. and Mrs. Martin
Bertolt Brecht: Theater of Distancing / Scene 15-2 Distancing in Szechuan / Verfremdung in Everyday Life
Lesson 16: Contemporary Styles
Clashing Cultures / 16-1 Prior and Harper / Clashing Subcultures / 16-2 Boy Willie and Grace / Clashing Professions / 16-3 Vivian and Jason / Solo performer, Multiple Roles
L'Envoi
A Glossary of Acting Terms
Index
Introduction
Terminology: Style, Character, and performance / Acting Two's Structure / A Word About Gender /
Part I. Extensions of Yourself
Lesson 1: Style
Exercise 1-1 Baby Talk / Exercise 1-2 Baby Moves / Lesson 2: Stylized Exchanges
Exercise 2-1 Pig Latin / Exercise 2-2 Speaking in (Foreign) Tongues / Exercise 2-3 Contemporary Greetings / Exercise 2-4 Making Elizabethan Greetings / Exercise 2-5 Ad-Libbing Elizabethan Greetings / Exercise 2-6 Ad-Libbing Elizabethan Insults / Exercise 2-7 Hamlet's Greeting to the Players
Lesson 3: Roses Are Red
Rhyme and Verse / Exercise 3-1 Roses Are Red / Exercise 3-2 Roses Are Redder--Take One / Eye Contact--And Looking Elsewhere / Exercise 3-3 Roses Are Redder--Take Two / Exercise 3-4 Roses Are Redder--Take Three / Thinking Your Character's Thoughts / Exercise 3-5 Roses Are Redder--Take Four / Playing the Play
Lesson 4: Playing God
Exercise 4-1 Playing God / Playing a Character
Lesson 5: Characterization
Exercise 5-1 Reciprocal Characterization: Richard and Hastings / Exercise 5-2 Intrinsic Characterization: Richard and Hastings / Intrinsic Characterizations: Extensions and Stereotypes / Centering / Exercise 5-3 Centering / Character Postures and Walks / Exercise 5-4 Character Walks / Character Voices / Exercise 5-5 Finding Your Voices / Character Descriptions / Exercise 5-6 Playing Out Character Descriptions / Animal Imagery / Exercise 5-7 Animate (Animalize) Your Character / Intrinsic and Reciprocal Characterization / Exercise 5-8 Character Greetings
Lesson 6: More God
Exercise 6-1 A Stanza, by God
Lesson 7: The Battle of the Sexes: Noah and His Wife
Scene 7-1 Noah and His Wife
Lesson 8: Performance: Being Public in Private
Exercise 8-1 A Performative God / Performative Aspects of Dramatic Scenes / Exercise 8-2 Performing Your Greetings and Insults / The Audience in the Theatre / Scene 8-3 The Performative Context: Oedipus and Creon / Exercise 8-4 The Performative Context: Shakespeare / Exercise 8-5 the Performative Context: Chekhov
Part II. The Scenes
Lesson 9: Greek Tragedy
Scene 9-1 Politician vs. Prophet: Oedipus and Teiresias / More Greek Scenes /
Lesson 10: The Commedia
Commedia Styles and Scripts / Commedia Performances / Commedia and Renaissance Ideals / Acting Commedia: Machiavelli's Clizia / Exercise 10-1 Commedia: Direct Address / Commedia Lazzi / Scene 10-1 Nicomaco and Sofronia / Stock Characters / More Commedia Scenes
Lesson 11: Shakespeare and the Elizabethan Theatre
Scene 11-1 The Past Made Vivid: Richard and Ann / Scansion / Verse Variations / Playing the Verse / Rhetoric / Playing and Building the Rhetoric / The Public Environment / Scene 11-2 A Merry War: Beatrice and Benedick / Shakespeare and Commedia / More Elizabethan Scenes
Lesson 12: The Theatre of Molière
Scene 12-1 Physical Comedy / Jourdain and the Philosopher / Molière and Commedia / Costume and Deportment / French Verse / Scene 12-2 Quarreling in Couplets: Alceste and Celimène /
Lesson 13: Restoration Comedy
Exercise 13-1 Restoration Speeches / Scene 13-1 Sexual Banter/
Lesson 14: The Belle Epoque
George Bernard Shaw / Exercise 14-1 Shaw's Political Speeches /
Anton Chekhov / Scene 14-1 Chekhov's Symphony of Feeling
Oscar Wilde / Scene 14-2 Wilde's Comedy of (Male) Manners / Exercise 14-3 Wilde's Comedy of (Female) Manners
Lesson 15: The Hypertheatre
Eugene Ionesco: Theater of the Absurd / Exercise 15-1 Theatre of Absurd: Mr. and Mrs. Martin
Bertolt Brecht: Theater of Distancing / Scene 15-2 Distancing in Szechuan / Verfremdung in Everyday Life
Lesson 16: Contemporary Styles
Clashing Cultures / 16-1 Prior and Harper / Clashing Subcultures / 16-2 Boy Willie and Grace / Clashing Professions / 16-3 Vivian and Jason / Solo performer, Multiple Roles
L'Envoi
A Glossary of Acting Terms
Index
Part I. Extensions of Yourself
Lesson 1: Style
Exercise 1-1 Baby Talk / Exercise 1-2 Baby Moves / Lesson 2: Stylized Exchanges
Exercise 2-1 Pig Latin / Exercise 2-2 Speaking in (Foreign) Tongues / Exercise 2-3 Contemporary Greetings / Exercise 2-4 Making Elizabethan Greetings / Exercise 2-5 Ad-Libbing Elizabethan Greetings / Exercise 2-6 Ad-Libbing Elizabethan Insults / Exercise 2-7 Hamlet's Greeting to the Players
Lesson 3: Roses Are Red
Rhyme and Verse / Exercise 3-1 Roses Are Red / Exercise 3-2 Roses Are Redder--Take One / Eye Contact--And Looking Elsewhere / Exercise 3-3 Roses Are Redder--Take Two / Exercise 3-4 Roses Are Redder--Take Three / Thinking Your Character's Thoughts / Exercise 3-5 Roses Are Redder--Take Four / Playing the Play
Lesson 4: Playing God
Exercise 4-1 Playing God / Playing a Character
Lesson 5: Characterization
Exercise 5-1 Reciprocal Characterization: Richard and Hastings / Exercise 5-2 Intrinsic Characterization: Richard and Hastings / Intrinsic Characterizations: Extensions and Stereotypes / Centering / Exercise 5-3 Centering / Character Postures and Walks / Exercise 5-4 Character Walks / Character Voices / Exercise 5-5 Finding Your Voices / Character Descriptions / Exercise 5-6 Playing Out Character Descriptions / Animal Imagery / Exercise 5-7 Animate (Animalize) Your Character / Intrinsic and Reciprocal Characterization / Exercise 5-8 Character Greetings
Lesson 6: More God
Exercise 6-1 A Stanza, by God
Lesson 7: The Battle of the Sexes: Noah and His Wife
Scene 7-1 Noah and His Wife
Lesson 8: Performance: Being Public in Private
Exercise 8-1 A Performative God / Performative Aspects of Dramatic Scenes / Exercise 8-2 Performing Your Greetings and Insults / The Audience in the Theatre / Scene 8-3 The Performative Context: Oedipus and Creon / Exercise 8-4 The Performative Context: Shakespeare / Exercise 8-5 the Performative Context: Chekhov
Part II. The Scenes
Lesson 9: Greek Tragedy
Scene 9-1 Politician vs. Prophet: Oedipus and Teiresias / More Greek Scenes /
Lesson 10: The Commedia
Commedia Styles and Scripts / Commedia Performances / Commedia and Renaissance Ideals / Acting Commedia: Machiavelli's Clizia / Exercise 10-1 Commedia: Direct Address / Commedia Lazzi / Scene 10-1 Nicomaco and Sofronia / Stock Characters / More Commedia Scenes
Lesson 11: Shakespeare and the Elizabethan Theatre
Scene 11-1 The Past Made Vivid: Richard and Ann / Scansion / Verse Variations / Playing the Verse / Rhetoric / Playing and Building the Rhetoric / The Public Environment / Scene 11-2 A Merry War: Beatrice and Benedick / Shakespeare and Commedia / More Elizabethan Scenes
Lesson 12: The Theatre of Molière
Scene 12-1 Physical Comedy / Jourdain and the Philosopher / Molière and Commedia / Costume and Deportment / French Verse / Scene 12-2 Quarreling in Couplets: Alceste and Celimène /
Lesson 13: Restoration Comedy
Exercise 13-1 Restoration Speeches / Scene 13-1 Sexual Banter/
Lesson 14: The Belle Epoque
George Bernard Shaw / Exercise 14-1 Shaw's Political Speeches /
Anton Chekhov / Scene 14-1 Chekhov's Symphony of Feeling
Oscar Wilde / Scene 14-2 Wilde's Comedy of (Male) Manners / Exercise 14-3 Wilde's Comedy of (Female) Manners
Lesson 15: The Hypertheatre
Eugene Ionesco: Theater of the Absurd / Exercise 15-1 Theatre of Absurd: Mr. and Mrs. Martin
Bertolt Brecht: Theater of Distancing / Scene 15-2 Distancing in Szechuan / Verfremdung in Everyday Life
Lesson 16: Contemporary Styles
Clashing Cultures / 16-1 Prior and Harper / Clashing Subcultures / 16-2 Boy Willie and Grace / Clashing Professions / 16-3 Vivian and Jason / Solo performer, Multiple Roles
L'Envoi
A Glossary of Acting Terms
Index
Exercise 1-1 Baby Talk / Exercise 1-2 Baby Moves / Lesson 2: Stylized Exchanges
Exercise 2-1 Pig Latin / Exercise 2-2 Speaking in (Foreign) Tongues / Exercise 2-3 Contemporary Greetings / Exercise 2-4 Making Elizabethan Greetings / Exercise 2-5 Ad-Libbing Elizabethan Greetings / Exercise 2-6 Ad-Libbing Elizabethan Insults / Exercise 2-7 Hamlet's Greeting to the Players
Lesson 3: Roses Are Red
Rhyme and Verse / Exercise 3-1 Roses Are Red / Exercise 3-2 Roses Are Redder--Take One / Eye Contact--And Looking Elsewhere / Exercise 3-3 Roses Are Redder--Take Two / Exercise 3-4 Roses Are Redder--Take Three / Thinking Your Character's Thoughts / Exercise 3-5 Roses Are Redder--Take Four / Playing the Play
Lesson 4: Playing God
Exercise 4-1 Playing God / Playing a Character
Lesson 5: Characterization
Exercise 5-1 Reciprocal Characterization: Richard and Hastings / Exercise 5-2 Intrinsic Characterization: Richard and Hastings / Intrinsic Characterizations: Extensions and Stereotypes / Centering / Exercise 5-3 Centering / Character Postures and Walks / Exercise 5-4 Character Walks / Character Voices / Exercise 5-5 Finding Your Voices / Character Descriptions / Exercise 5-6 Playing Out Character Descriptions / Animal Imagery / Exercise 5-7 Animate (Animalize) Your Character / Intrinsic and Reciprocal Characterization / Exercise 5-8 Character Greetings
Lesson 6: More God
Exercise 6-1 A Stanza, by God
Lesson 7: The Battle of the Sexes: Noah and His Wife
Scene 7-1 Noah and His Wife
Lesson 8: Performance: Being Public in Private
Exercise 8-1 A Performative God / Performative Aspects of Dramatic Scenes / Exercise 8-2 Performing Your Greetings and Insults / The Audience in the Theatre / Scene 8-3 The Performative Context: Oedipus and Creon / Exercise 8-4 The Performative Context: Shakespeare / Exercise 8-5 the Performative Context: Chekhov
Part II. The Scenes
Lesson 9: Greek Tragedy
Scene 9-1 Politician vs. Prophet: Oedipus and Teiresias / More Greek Scenes /
Lesson 10: The Commedia
Commedia Styles and Scripts / Commedia Performances / Commedia and Renaissance Ideals / Acting Commedia: Machiavelli's Clizia / Exercise 10-1 Commedia: Direct Address / Commedia Lazzi / Scene 10-1 Nicomaco and Sofronia / Stock Characters / More Commedia Scenes
Lesson 11: Shakespeare and the Elizabethan Theatre
Scene 11-1 The Past Made Vivid: Richard and Ann / Scansion / Verse Variations / Playing the Verse / Rhetoric / Playing and Building the Rhetoric / The Public Environment / Scene 11-2 A Merry War: Beatrice and Benedick / Shakespeare and Commedia / More Elizabethan Scenes
Lesson 12: The Theatre of Molière
Scene 12-1 Physical Comedy / Jourdain and the Philosopher / Molière and Commedia / Costume and Deportment / French Verse / Scene 12-2 Quarreling in Couplets: Alceste and Celimène /
Lesson 13: Restoration Comedy
Exercise 13-1 Restoration Speeches / Scene 13-1 Sexual Banter/
Lesson 14: The Belle Epoque
George Bernard Shaw / Exercise 14-1 Shaw's Political Speeches /
Anton Chekhov / Scene 14-1 Chekhov's Symphony of Feeling
Oscar Wilde / Scene 14-2 Wilde's Comedy of (Male) Manners / Exercise 14-3 Wilde's Comedy of (Female) Manners
Lesson 15: The Hypertheatre
Eugene Ionesco: Theater of the Absurd / Exercise 15-1 Theatre of Absurd: Mr. and Mrs. Martin
Bertolt Brecht: Theater of Distancing / Scene 15-2 Distancing in Szechuan / Verfremdung in Everyday Life
Lesson 16: Contemporary Styles
Clashing Cultures / 16-1 Prior and Harper / Clashing Subcultures / 16-2 Boy Willie and Grace / Clashing Professions / 16-3 Vivian and Jason / Solo performer, Multiple Roles
L'Envoi
A Glossary of Acting Terms
Index
Exercise 2-1 Pig Latin / Exercise 2-2 Speaking in (Foreign) Tongues / Exercise 2-3 Contemporary Greetings / Exercise 2-4 Making Elizabethan Greetings / Exercise 2-5 Ad-Libbing Elizabethan Greetings / Exercise 2-6 Ad-Libbing Elizabethan Insults / Exercise 2-7 Hamlet's Greeting to the Players
Lesson 3: Roses Are Red
Rhyme and Verse / Exercise 3-1 Roses Are Red / Exercise 3-2 Roses Are Redder--Take One / Eye Contact--And Looking Elsewhere / Exercise 3-3 Roses Are Redder--Take Two / Exercise 3-4 Roses Are Redder--Take Three / Thinking Your Character's Thoughts / Exercise 3-5 Roses Are Redder--Take Four / Playing the Play
Lesson 4: Playing God
Exercise 4-1 Playing God / Playing a Character
Lesson 5: Characterization
Exercise 5-1 Reciprocal Characterization: Richard and Hastings / Exercise 5-2 Intrinsic Characterization: Richard and Hastings / Intrinsic Characterizations: Extensions and Stereotypes / Centering / Exercise 5-3 Centering / Character Postures and Walks / Exercise 5-4 Character Walks / Character Voices / Exercise 5-5 Finding Your Voices / Character Descriptions / Exercise 5-6 Playing Out Character Descriptions / Animal Imagery / Exercise 5-7 Animate (Animalize) Your Character / Intrinsic and Reciprocal Characterization / Exercise 5-8 Character Greetings
Lesson 6: More God
Exercise 6-1 A Stanza, by God
Lesson 7: The Battle of the Sexes: Noah and His Wife
Scene 7-1 Noah and His Wife
Lesson 8: Performance: Being Public in Private
Exercise 8-1 A Performative God / Performative Aspects of Dramatic Scenes / Exercise 8-2 Performing Your Greetings and Insults / The Audience in the Theatre / Scene 8-3 The Performative Context: Oedipus and Creon / Exercise 8-4 The Performative Context: Shakespeare / Exercise 8-5 the Performative Context: Chekhov
Part II. The Scenes
Lesson 9: Greek Tragedy
Scene 9-1 Politician vs. Prophet: Oedipus and Teiresias / More Greek Scenes /
Lesson 10: The Commedia
Commedia Styles and Scripts / Commedia Performances / Commedia and Renaissance Ideals / Acting Commedia: Machiavelli's Clizia / Exercise 10-1 Commedia: Direct Address / Commedia Lazzi / Scene 10-1 Nicomaco and Sofronia / Stock Characters / More Commedia Scenes
Lesson 11: Shakespeare and the Elizabethan Theatre
Scene 11-1 The Past Made Vivid: Richard and Ann / Scansion / Verse Variations / Playing the Verse / Rhetoric / Playing and Building the Rhetoric / The Public Environment / Scene 11-2 A Merry War: Beatrice and Benedick / Shakespeare and Commedia / More Elizabethan Scenes
Lesson 12: The Theatre of Molière
Scene 12-1 Physical Comedy / Jourdain and the Philosopher / Molière and Commedia / Costume and Deportment / French Verse / Scene 12-2 Quarreling in Couplets: Alceste and Celimène /
Lesson 13: Restoration Comedy
Exercise 13-1 Restoration Speeches / Scene 13-1 Sexual Banter/
Lesson 14: The Belle Epoque
George Bernard Shaw / Exercise 14-1 Shaw's Political Speeches /
Anton Chekhov / Scene 14-1 Chekhov's Symphony of Feeling
Oscar Wilde / Scene 14-2 Wilde's Comedy of (Male) Manners / Exercise 14-3 Wilde's Comedy of (Female) Manners
Lesson 15: The Hypertheatre
Eugene Ionesco: Theater of the Absurd / Exercise 15-1 Theatre of Absurd: Mr. and Mrs. Martin
Bertolt Brecht: Theater of Distancing / Scene 15-2 Distancing in Szechuan / Verfremdung in Everyday Life
Lesson 16: Contemporary Styles
Clashing Cultures / 16-1 Prior and Harper / Clashing Subcultures / 16-2 Boy Willie and Grace / Clashing Professions / 16-3 Vivian and Jason / Solo performer, Multiple Roles
L'Envoi
A Glossary of Acting Terms
Index
Rhyme and Verse / Exercise 3-1 Roses Are Red / Exercise 3-2 Roses Are Redder--Take One / Eye Contact--And Looking Elsewhere / Exercise 3-3 Roses Are Redder--Take Two / Exercise 3-4 Roses Are Redder--Take Three / Thinking Your Character's Thoughts / Exercise 3-5 Roses Are Redder--Take Four / Playing the Play
Lesson 4: Playing God
Exercise 4-1 Playing God / Playing a Character
Lesson 5: Characterization
Exercise 5-1 Reciprocal Characterization: Richard and Hastings / Exercise 5-2 Intrinsic Characterization: Richard and Hastings / Intrinsic Characterizations: Extensions and Stereotypes / Centering / Exercise 5-3 Centering / Character Postures and Walks / Exercise 5-4 Character Walks / Character Voices / Exercise 5-5 Finding Your Voices / Character Descriptions / Exercise 5-6 Playing Out Character Descriptions / Animal Imagery / Exercise 5-7 Animate (Animalize) Your Character / Intrinsic and Reciprocal Characterization / Exercise 5-8 Character Greetings
Lesson 6: More God
Exercise 6-1 A Stanza, by God
Lesson 7: The Battle of the Sexes: Noah and His Wife
Scene 7-1 Noah and His Wife
Lesson 8: Performance: Being Public in Private
Exercise 8-1 A Performative God / Performative Aspects of Dramatic Scenes / Exercise 8-2 Performing Your Greetings and Insults / The Audience in the Theatre / Scene 8-3 The Performative Context: Oedipus and Creon / Exercise 8-4 The Performative Context: Shakespeare / Exercise 8-5 the Performative Context: Chekhov
Part II. The Scenes
Lesson 9: Greek Tragedy
Scene 9-1 Politician vs. Prophet: Oedipus and Teiresias / More Greek Scenes /
Lesson 10: The Commedia
Commedia Styles and Scripts / Commedia Performances / Commedia and Renaissance Ideals / Acting Commedia: Machiavelli's Clizia / Exercise 10-1 Commedia: Direct Address / Commedia Lazzi / Scene 10-1 Nicomaco and Sofronia / Stock Characters / More Commedia Scenes
Lesson 11: Shakespeare and the Elizabethan Theatre
Scene 11-1 The Past Made Vivid: Richard and Ann / Scansion / Verse Variations / Playing the Verse / Rhetoric / Playing and Building the Rhetoric / The Public Environment / Scene 11-2 A Merry War: Beatrice and Benedick / Shakespeare and Commedia / More Elizabethan Scenes
Lesson 12: The Theatre of Molière
Scene 12-1 Physical Comedy / Jourdain and the Philosopher / Molière and Commedia / Costume and Deportment / French Verse / Scene 12-2 Quarreling in Couplets: Alceste and Celimène /
Lesson 13: Restoration Comedy
Exercise 13-1 Restoration Speeches / Scene 13-1 Sexual Banter/
Lesson 14: The Belle Epoque
George Bernard Shaw / Exercise 14-1 Shaw's Political Speeches /
Anton Chekhov / Scene 14-1 Chekhov's Symphony of Feeling
Oscar Wilde / Scene 14-2 Wilde's Comedy of (Male) Manners / Exercise 14-3 Wilde's Comedy of (Female) Manners
Lesson 15: The Hypertheatre
Eugene Ionesco: Theater of the Absurd / Exercise 15-1 Theatre of Absurd: Mr. and Mrs. Martin
Bertolt Brecht: Theater of Distancing / Scene 15-2 Distancing in Szechuan / Verfremdung in Everyday Life
Lesson 16: Contemporary Styles
Clashing Cultures / 16-1 Prior and Harper / Clashing Subcultures / 16-2 Boy Willie and Grace / Clashing Professions / 16-3 Vivian and Jason / Solo performer, Multiple Roles
L'Envoi
A Glossary of Acting Terms
Index
Exercise 4-1 Playing God / Playing a Character
Lesson 5: Characterization
Exercise 5-1 Reciprocal Characterization: Richard and Hastings / Exercise 5-2 Intrinsic Characterization: Richard and Hastings / Intrinsic Characterizations: Extensions and Stereotypes / Centering / Exercise 5-3 Centering / Character Postures and Walks / Exercise 5-4 Character Walks / Character Voices / Exercise 5-5 Finding Your Voices / Character Descriptions / Exercise 5-6 Playing Out Character Descriptions / Animal Imagery / Exercise 5-7 Animate (Animalize) Your Character / Intrinsic and Reciprocal Characterization / Exercise 5-8 Character Greetings
Lesson 6: More God
Exercise 6-1 A Stanza, by God
Lesson 7: The Battle of the Sexes: Noah and His Wife
Scene 7-1 Noah and His Wife
Lesson 8: Performance: Being Public in Private
Exercise 8-1 A Performative God / Performative Aspects of Dramatic Scenes / Exercise 8-2 Performing Your Greetings and Insults / The Audience in the Theatre / Scene 8-3 The Performative Context: Oedipus and Creon / Exercise 8-4 The Performative Context: Shakespeare / Exercise 8-5 the Performative Context: Chekhov
Part II. The Scenes
Lesson 9: Greek Tragedy
Scene 9-1 Politician vs. Prophet: Oedipus and Teiresias / More Greek Scenes /
Lesson 10: The Commedia
Commedia Styles and Scripts / Commedia Performances / Commedia and Renaissance Ideals / Acting Commedia: Machiavelli's Clizia / Exercise 10-1 Commedia: Direct Address / Commedia Lazzi / Scene 10-1 Nicomaco and Sofronia / Stock Characters / More Commedia Scenes
Lesson 11: Shakespeare and the Elizabethan Theatre
Scene 11-1 The Past Made Vivid: Richard and Ann / Scansion / Verse Variations / Playing the Verse / Rhetoric / Playing and Building the Rhetoric / The Public Environment / Scene 11-2 A Merry War: Beatrice and Benedick / Shakespeare and Commedia / More Elizabethan Scenes
Lesson 12: The Theatre of Molière
Scene 12-1 Physical Comedy / Jourdain and the Philosopher / Molière and Commedia / Costume and Deportment / French Verse / Scene 12-2 Quarreling in Couplets: Alceste and Celimène /
Lesson 13: Restoration Comedy
Exercise 13-1 Restoration Speeches / Scene 13-1 Sexual Banter/
Lesson 14: The Belle Epoque
George Bernard Shaw / Exercise 14-1 Shaw's Political Speeches /
Anton Chekhov / Scene 14-1 Chekhov's Symphony of Feeling
Oscar Wilde / Scene 14-2 Wilde's Comedy of (Male) Manners / Exercise 14-3 Wilde's Comedy of (Female) Manners
Lesson 15: The Hypertheatre
Eugene Ionesco: Theater of the Absurd / Exercise 15-1 Theatre of Absurd: Mr. and Mrs. Martin
Bertolt Brecht: Theater of Distancing / Scene 15-2 Distancing in Szechuan / Verfremdung in Everyday Life
Lesson 16: Contemporary Styles
Clashing Cultures / 16-1 Prior and Harper / Clashing Subcultures / 16-2 Boy Willie and Grace / Clashing Professions / 16-3 Vivian and Jason / Solo performer, Multiple Roles
L'Envoi
A Glossary of Acting Terms
Index
Exercise 5-1 Reciprocal Characterization: Richard and Hastings / Exercise 5-2 Intrinsic Characterization: Richard and Hastings / Intrinsic Characterizations: Extensions and Stereotypes / Centering / Exercise 5-3 Centering / Character Postures and Walks / Exercise 5-4 Character Walks / Character Voices / Exercise 5-5 Finding Your Voices / Character Descriptions / Exercise 5-6 Playing Out Character Descriptions / Animal Imagery / Exercise 5-7 Animate (Animalize) Your Character / Intrinsic and Reciprocal Characterization / Exercise 5-8 Character Greetings
Lesson 6: More God
Exercise 6-1 A Stanza, by God
Lesson 7: The Battle of the Sexes: Noah and His Wife
Scene 7-1 Noah and His Wife
Lesson 8: Performance: Being Public in Private
Exercise 8-1 A Performative God / Performative Aspects of Dramatic Scenes / Exercise 8-2 Performing Your Greetings and Insults / The Audience in the Theatre / Scene 8-3 The Performative Context: Oedipus and Creon / Exercise 8-4 The Performative Context: Shakespeare / Exercise 8-5 the Performative Context: Chekhov
Part II. The Scenes
Lesson 9: Greek Tragedy
Scene 9-1 Politician vs. Prophet: Oedipus and Teiresias / More Greek Scenes /
Lesson 10: The Commedia
Commedia Styles and Scripts / Commedia Performances / Commedia and Renaissance Ideals / Acting Commedia: Machiavelli's Clizia / Exercise 10-1 Commedia: Direct Address / Commedia Lazzi / Scene 10-1 Nicomaco and Sofronia / Stock Characters / More Commedia Scenes
Lesson 11: Shakespeare and the Elizabethan Theatre
Scene 11-1 The Past Made Vivid: Richard and Ann / Scansion / Verse Variations / Playing the Verse / Rhetoric / Playing and Building the Rhetoric / The Public Environment / Scene 11-2 A Merry War: Beatrice and Benedick / Shakespeare and Commedia / More Elizabethan Scenes
Lesson 12: The Theatre of Molière
Scene 12-1 Physical Comedy / Jourdain and the Philosopher / Molière and Commedia / Costume and Deportment / French Verse / Scene 12-2 Quarreling in Couplets: Alceste and Celimène /
Lesson 13: Restoration Comedy
Exercise 13-1 Restoration Speeches / Scene 13-1 Sexual Banter/
Lesson 14: The Belle Epoque
George Bernard Shaw / Exercise 14-1 Shaw's Political Speeches /
Anton Chekhov / Scene 14-1 Chekhov's Symphony of Feeling
Oscar Wilde / Scene 14-2 Wilde's Comedy of (Male) Manners / Exercise 14-3 Wilde's Comedy of (Female) Manners
Lesson 15: The Hypertheatre
Eugene Ionesco: Theater of the Absurd / Exercise 15-1 Theatre of Absurd: Mr. and Mrs. Martin
Bertolt Brecht: Theater of Distancing / Scene 15-2 Distancing in Szechuan / Verfremdung in Everyday Life
Lesson 16: Contemporary Styles
Clashing Cultures / 16-1 Prior and Harper / Clashing Subcultures / 16-2 Boy Willie and Grace / Clashing Professions / 16-3 Vivian and Jason / Solo performer, Multiple Roles
L'Envoi
A Glossary of Acting Terms
Index
Exercise 6-1 A Stanza, by God
Lesson 7: The Battle of the Sexes: Noah and His Wife
Scene 7-1 Noah and His Wife
Lesson 8: Performance: Being Public in Private
Exercise 8-1 A Performative God / Performative Aspects of Dramatic Scenes / Exercise 8-2 Performing Your Greetings and Insults / The Audience in the Theatre / Scene 8-3 The Performative Context: Oedipus and Creon / Exercise 8-4 The Performative Context: Shakespeare / Exercise 8-5 the Performative Context: Chekhov
Part II. The Scenes
Lesson 9: Greek Tragedy
Scene 9-1 Politician vs. Prophet: Oedipus and Teiresias / More Greek Scenes /
Lesson 10: The Commedia
Commedia Styles and Scripts / Commedia Performances / Commedia and Renaissance Ideals / Acting Commedia: Machiavelli's Clizia / Exercise 10-1 Commedia: Direct Address / Commedia Lazzi / Scene 10-1 Nicomaco and Sofronia / Stock Characters / More Commedia Scenes
Lesson 11: Shakespeare and the Elizabethan Theatre
Scene 11-1 The Past Made Vivid: Richard and Ann / Scansion / Verse Variations / Playing the Verse / Rhetoric / Playing and Building the Rhetoric / The Public Environment / Scene 11-2 A Merry War: Beatrice and Benedick / Shakespeare and Commedia / More Elizabethan Scenes
Lesson 12: The Theatre of Molière
Scene 12-1 Physical Comedy / Jourdain and the Philosopher / Molière and Commedia / Costume and Deportment / French Verse / Scene 12-2 Quarreling in Couplets: Alceste and Celimène /
Lesson 13: Restoration Comedy
Exercise 13-1 Restoration Speeches / Scene 13-1 Sexual Banter/
Lesson 14: The Belle Epoque
George Bernard Shaw / Exercise 14-1 Shaw's Political Speeches /
Anton Chekhov / Scene 14-1 Chekhov's Symphony of Feeling
Oscar Wilde / Scene 14-2 Wilde's Comedy of (Male) Manners / Exercise 14-3 Wilde's Comedy of (Female) Manners
Lesson 15: The Hypertheatre
Eugene Ionesco: Theater of the Absurd / Exercise 15-1 Theatre of Absurd: Mr. and Mrs. Martin
Bertolt Brecht: Theater of Distancing / Scene 15-2 Distancing in Szechuan / Verfremdung in Everyday Life
Lesson 16: Contemporary Styles
Clashing Cultures / 16-1 Prior and Harper / Clashing Subcultures / 16-2 Boy Willie and Grace / Clashing Professions / 16-3 Vivian and Jason / Solo performer, Multiple Roles
L'Envoi
A Glossary of Acting Terms
Index
Scene 7-1 Noah and His Wife
Lesson 8: Performance: Being Public in Private
Exercise 8-1 A Performative God / Performative Aspects of Dramatic Scenes / Exercise 8-2 Performing Your Greetings and Insults / The Audience in the Theatre / Scene 8-3 The Performative Context: Oedipus and Creon / Exercise 8-4 The Performative Context: Shakespeare / Exercise 8-5 the Performative Context: Chekhov
Part II. The Scenes
Lesson 9: Greek Tragedy
Scene 9-1 Politician vs. Prophet: Oedipus and Teiresias / More Greek Scenes /
Lesson 10: The Commedia
Commedia Styles and Scripts / Commedia Performances / Commedia and Renaissance Ideals / Acting Commedia: Machiavelli's Clizia / Exercise 10-1 Commedia: Direct Address / Commedia Lazzi / Scene 10-1 Nicomaco and Sofronia / Stock Characters / More Commedia Scenes
Lesson 11: Shakespeare and the Elizabethan Theatre
Scene 11-1 The Past Made Vivid: Richard and Ann / Scansion / Verse Variations / Playing the Verse / Rhetoric / Playing and Building the Rhetoric / The Public Environment / Scene 11-2 A Merry War: Beatrice and Benedick / Shakespeare and Commedia / More Elizabethan Scenes
Lesson 12: The Theatre of Molière
Scene 12-1 Physical Comedy / Jourdain and the Philosopher / Molière and Commedia / Costume and Deportment / French Verse / Scene 12-2 Quarreling in Couplets: Alceste and Celimène /
Lesson 13: Restoration Comedy
Exercise 13-1 Restoration Speeches / Scene 13-1 Sexual Banter/
Lesson 14: The Belle Epoque
George Bernard Shaw / Exercise 14-1 Shaw's Political Speeches /
Anton Chekhov / Scene 14-1 Chekhov's Symphony of Feeling
Oscar Wilde / Scene 14-2 Wilde's Comedy of (Male) Manners / Exercise 14-3 Wilde's Comedy of (Female) Manners
Lesson 15: The Hypertheatre
Eugene Ionesco: Theater of the Absurd / Exercise 15-1 Theatre of Absurd: Mr. and Mrs. Martin
Bertolt Brecht: Theater of Distancing / Scene 15-2 Distancing in Szechuan / Verfremdung in Everyday Life
Lesson 16: Contemporary Styles
Clashing Cultures / 16-1 Prior and Harper / Clashing Subcultures / 16-2 Boy Willie and Grace / Clashing Professions / 16-3 Vivian and Jason / Solo performer, Multiple Roles
L'Envoi
A Glossary of Acting Terms
Index
Exercise 8-1 A Performative God / Performative Aspects of Dramatic Scenes / Exercise 8-2 Performing Your Greetings and Insults / The Audience in the Theatre / Scene 8-3 The Performative Context: Oedipus and Creon / Exercise 8-4 The Performative Context: Shakespeare / Exercise 8-5 the Performative Context: Chekhov
Part II. The Scenes
Lesson 9: Greek Tragedy
Scene 9-1 Politician vs. Prophet: Oedipus and Teiresias / More Greek Scenes /
Lesson 10: The Commedia
Commedia Styles and Scripts / Commedia Performances / Commedia and Renaissance Ideals / Acting Commedia: Machiavelli's Clizia / Exercise 10-1 Commedia: Direct Address / Commedia Lazzi / Scene 10-1 Nicomaco and Sofronia / Stock Characters / More Commedia Scenes
Lesson 11: Shakespeare and the Elizabethan Theatre
Scene 11-1 The Past Made Vivid: Richard and Ann / Scansion / Verse Variations / Playing the Verse / Rhetoric / Playing and Building the Rhetoric / The Public Environment / Scene 11-2 A Merry War: Beatrice and Benedick / Shakespeare and Commedia / More Elizabethan Scenes
Lesson 12: The Theatre of Molière
Scene 12-1 Physical Comedy / Jourdain and the Philosopher / Molière and Commedia / Costume and Deportment / French Verse / Scene 12-2 Quarreling in Couplets: Alceste and Celimène /
Lesson 13: Restoration Comedy
Exercise 13-1 Restoration Speeches / Scene 13-1 Sexual Banter/
Lesson 14: The Belle Epoque
George Bernard Shaw / Exercise 14-1 Shaw's Political Speeches /
Anton Chekhov / Scene 14-1 Chekhov's Symphony of Feeling
Oscar Wilde / Scene 14-2 Wilde's Comedy of (Male) Manners / Exercise 14-3 Wilde's Comedy of (Female) Manners
Lesson 15: The Hypertheatre
Eugene Ionesco: Theater of the Absurd / Exercise 15-1 Theatre of Absurd: Mr. and Mrs. Martin
Bertolt Brecht: Theater of Distancing / Scene 15-2 Distancing in Szechuan / Verfremdung in Everyday Life
Lesson 16: Contemporary Styles
Clashing Cultures / 16-1 Prior and Harper / Clashing Subcultures / 16-2 Boy Willie and Grace / Clashing Professions / 16-3 Vivian and Jason / Solo performer, Multiple Roles
L'Envoi
A Glossary of Acting Terms
Index
Lesson 9: Greek Tragedy
Scene 9-1 Politician vs. Prophet: Oedipus and Teiresias / More Greek Scenes /
Lesson 10: The Commedia
Commedia Styles and Scripts / Commedia Performances / Commedia and Renaissance Ideals / Acting Commedia: Machiavelli's Clizia / Exercise 10-1 Commedia: Direct Address / Commedia Lazzi / Scene 10-1 Nicomaco and Sofronia / Stock Characters / More Commedia Scenes
Lesson 11: Shakespeare and the Elizabethan Theatre
Scene 11-1 The Past Made Vivid: Richard and Ann / Scansion / Verse Variations / Playing the Verse / Rhetoric / Playing and Building the Rhetoric / The Public Environment / Scene 11-2 A Merry War: Beatrice and Benedick / Shakespeare and Commedia / More Elizabethan Scenes
Lesson 12: The Theatre of Molière
Scene 12-1 Physical Comedy / Jourdain and the Philosopher / Molière and Commedia / Costume and Deportment / French Verse / Scene 12-2 Quarreling in Couplets: Alceste and Celimène /
Lesson 13: Restoration Comedy
Exercise 13-1 Restoration Speeches / Scene 13-1 Sexual Banter/
Lesson 14: The Belle Epoque
George Bernard Shaw / Exercise 14-1 Shaw's Political Speeches /
Anton Chekhov / Scene 14-1 Chekhov's Symphony of Feeling
Oscar Wilde / Scene 14-2 Wilde's Comedy of (Male) Manners / Exercise 14-3 Wilde's Comedy of (Female) Manners
Lesson 15: The Hypertheatre
Eugene Ionesco: Theater of the Absurd / Exercise 15-1 Theatre of Absurd: Mr. and Mrs. Martin
Bertolt Brecht: Theater of Distancing / Scene 15-2 Distancing in Szechuan / Verfremdung in Everyday Life
Lesson 16: Contemporary Styles
Clashing Cultures / 16-1 Prior and Harper / Clashing Subcultures / 16-2 Boy Willie and Grace / Clashing Professions / 16-3 Vivian and Jason / Solo performer, Multiple Roles
L'Envoi
A Glossary of Acting Terms
Index
Lesson 10: The Commedia
Commedia Styles and Scripts / Commedia Performances / Commedia and Renaissance Ideals / Acting Commedia: Machiavelli's Clizia / Exercise 10-1 Commedia: Direct Address / Commedia Lazzi / Scene 10-1 Nicomaco and Sofronia / Stock Characters / More Commedia Scenes
Lesson 11: Shakespeare and the Elizabethan Theatre
Scene 11-1 The Past Made Vivid: Richard and Ann / Scansion / Verse Variations / Playing the Verse / Rhetoric / Playing and Building the Rhetoric / The Public Environment / Scene 11-2 A Merry War: Beatrice and Benedick / Shakespeare and Commedia / More Elizabethan Scenes
Lesson 12: The Theatre of Molière
Scene 12-1 Physical Comedy / Jourdain and the Philosopher / Molière and Commedia / Costume and Deportment / French Verse / Scene 12-2 Quarreling in Couplets: Alceste and Celimène /
Lesson 13: Restoration Comedy
Exercise 13-1 Restoration Speeches / Scene 13-1 Sexual Banter/
Lesson 14: The Belle Epoque
George Bernard Shaw / Exercise 14-1 Shaw's Political Speeches /
Anton Chekhov / Scene 14-1 Chekhov's Symphony of Feeling
Oscar Wilde / Scene 14-2 Wilde's Comedy of (Male) Manners / Exercise 14-3 Wilde's Comedy of (Female) Manners
Lesson 15: The Hypertheatre
Eugene Ionesco: Theater of the Absurd / Exercise 15-1 Theatre of Absurd: Mr. and Mrs. Martin
Bertolt Brecht: Theater of Distancing / Scene 15-2 Distancing in Szechuan / Verfremdung in Everyday Life
Lesson 16: Contemporary Styles
Clashing Cultures / 16-1 Prior and Harper / Clashing Subcultures / 16-2 Boy Willie and Grace / Clashing Professions / 16-3 Vivian and Jason / Solo performer, Multiple Roles
L'Envoi
A Glossary of Acting Terms
Index
Lesson 11: Shakespeare and the Elizabethan Theatre
Scene 11-1 The Past Made Vivid: Richard and Ann / Scansion / Verse Variations / Playing the Verse / Rhetoric / Playing and Building the Rhetoric / The Public Environment / Scene 11-2 A Merry War: Beatrice and Benedick / Shakespeare and Commedia / More Elizabethan Scenes
Lesson 12: The Theatre of Molière
Scene 12-1 Physical Comedy / Jourdain and the Philosopher / Molière and Commedia / Costume and Deportment / French Verse / Scene 12-2 Quarreling in Couplets: Alceste and Celimène /
Lesson 13: Restoration Comedy
Exercise 13-1 Restoration Speeches / Scene 13-1 Sexual Banter/
Lesson 14: The Belle Epoque
George Bernard Shaw / Exercise 14-1 Shaw's Political Speeches /
Anton Chekhov / Scene 14-1 Chekhov's Symphony of Feeling
Oscar Wilde / Scene 14-2 Wilde's Comedy of (Male) Manners / Exercise 14-3 Wilde's Comedy of (Female) Manners
Lesson 15: The Hypertheatre
Eugene Ionesco: Theater of the Absurd / Exercise 15-1 Theatre of Absurd: Mr. and Mrs. Martin
Bertolt Brecht: Theater of Distancing / Scene 15-2 Distancing in Szechuan / Verfremdung in Everyday Life
Lesson 16: Contemporary Styles
Clashing Cultures / 16-1 Prior and Harper / Clashing Subcultures / 16-2 Boy Willie and Grace / Clashing Professions / 16-3 Vivian and Jason / Solo performer, Multiple Roles
L'Envoi
A Glossary of Acting Terms
Index
Lesson 12: The Theatre of Molière
Scene 12-1 Physical Comedy / Jourdain and the Philosopher / Molière and Commedia / Costume and Deportment / French Verse / Scene 12-2 Quarreling in Couplets: Alceste and Celimène /
Lesson 13: Restoration Comedy
Exercise 13-1 Restoration Speeches / Scene 13-1 Sexual Banter/
Lesson 14: The Belle Epoque
George Bernard Shaw / Exercise 14-1 Shaw's Political Speeches /
Anton Chekhov / Scene 14-1 Chekhov's Symphony of Feeling
Oscar Wilde / Scene 14-2 Wilde's Comedy of (Male) Manners / Exercise 14-3 Wilde's Comedy of (Female) Manners
Lesson 15: The Hypertheatre
Eugene Ionesco: Theater of the Absurd / Exercise 15-1 Theatre of Absurd: Mr. and Mrs. Martin
Bertolt Brecht: Theater of Distancing / Scene 15-2 Distancing in Szechuan / Verfremdung in Everyday Life
Lesson 16: Contemporary Styles
Clashing Cultures / 16-1 Prior and Harper / Clashing Subcultures / 16-2 Boy Willie and Grace / Clashing Professions / 16-3 Vivian and Jason / Solo performer, Multiple Roles
L'Envoi
A Glossary of Acting Terms
Index
Lesson 13: Restoration Comedy
Exercise 13-1 Restoration Speeches / Scene 13-1 Sexual Banter/
Lesson 14: The Belle Epoque
George Bernard Shaw / Exercise 14-1 Shaw's Political Speeches /
Anton Chekhov / Scene 14-1 Chekhov's Symphony of Feeling
Oscar Wilde / Scene 14-2 Wilde's Comedy of (Male) Manners / Exercise 14-3 Wilde's Comedy of (Female) Manners
Lesson 15: The Hypertheatre
Eugene Ionesco: Theater of the Absurd / Exercise 15-1 Theatre of Absurd: Mr. and Mrs. Martin
Bertolt Brecht: Theater of Distancing / Scene 15-2 Distancing in Szechuan / Verfremdung in Everyday Life
Lesson 16: Contemporary Styles
Clashing Cultures / 16-1 Prior and Harper / Clashing Subcultures / 16-2 Boy Willie and Grace / Clashing Professions / 16-3 Vivian and Jason / Solo performer, Multiple Roles
L'Envoi
A Glossary of Acting Terms
Index
Lesson 14: The Belle Epoque
George Bernard Shaw / Exercise 14-1 Shaw's Political Speeches /
Anton Chekhov / Scene 14-1 Chekhov's Symphony of Feeling
Oscar Wilde / Scene 14-2 Wilde's Comedy of (Male) Manners / Exercise 14-3 Wilde's Comedy of (Female) Manners
Lesson 15: The Hypertheatre
Eugene Ionesco: Theater of the Absurd / Exercise 15-1 Theatre of Absurd: Mr. and Mrs. Martin
Bertolt Brecht: Theater of Distancing / Scene 15-2 Distancing in Szechuan / Verfremdung in Everyday Life
Lesson 16: Contemporary Styles
Clashing Cultures / 16-1 Prior and Harper / Clashing Subcultures / 16-2 Boy Willie and Grace / Clashing Professions / 16-3 Vivian and Jason / Solo performer, Multiple Roles
L'Envoi
A Glossary of Acting Terms
Index
Anton Chekhov / Scene 14-1 Chekhov's Symphony of Feeling
Oscar Wilde / Scene 14-2 Wilde's Comedy of (Male) Manners / Exercise 14-3 Wilde's Comedy of (Female) Manners
Lesson 15: The Hypertheatre
Eugene Ionesco: Theater of the Absurd / Exercise 15-1 Theatre of Absurd: Mr. and Mrs. Martin
Bertolt Brecht: Theater of Distancing / Scene 15-2 Distancing in Szechuan / Verfremdung in Everyday Life
Lesson 16: Contemporary Styles
Clashing Cultures / 16-1 Prior and Harper / Clashing Subcultures / 16-2 Boy Willie and Grace / Clashing Professions / 16-3 Vivian and Jason / Solo performer, Multiple Roles
L'Envoi
A Glossary of Acting Terms
Index
Lesson 15: The Hypertheatre
Eugene Ionesco: Theater of the Absurd / Exercise 15-1 Theatre of Absurd: Mr. and Mrs. Martin
Bertolt Brecht: Theater of Distancing / Scene 15-2 Distancing in Szechuan / Verfremdung in Everyday Life
Lesson 16: Contemporary Styles
Clashing Cultures / 16-1 Prior and Harper / Clashing Subcultures / 16-2 Boy Willie and Grace / Clashing Professions / 16-3 Vivian and Jason / Solo performer, Multiple Roles
L'Envoi
A Glossary of Acting Terms
Index
Bertolt Brecht: Theater of Distancing / Scene 15-2 Distancing in Szechuan / Verfremdung in Everyday Life
Lesson 16: Contemporary Styles
Clashing Cultures / 16-1 Prior and Harper / Clashing Subcultures / 16-2 Boy Willie and Grace / Clashing Professions / 16-3 Vivian and Jason / Solo performer, Multiple Roles
L'Envoi
A Glossary of Acting Terms
Index
Clashing Cultures / 16-1 Prior and Harper / Clashing Subcultures / 16-2 Boy Willie and Grace / Clashing Professions / 16-3 Vivian and Jason / Solo performer, Multiple Roles
L'Envoi
A Glossary of Acting Terms
Index
A Glossary of Acting Terms
Index
About the Author
Robert Cohen
ROBERT COHEN was the founding chair Drama at the University of California at Irvine, where he continues to serve as the department's Claire Trevor Professor of Drama. He has also been a resident acting teacher at the Actors Center in New York, the Shanghai Theatre Academy, the Korean National Arts University, and the national theatre academies of Hungary, Finland, and Estonia. He is an accomplished stage director, scholar, playwright, drama critic, and teacher. A director by training (Doctor of Fine Arts, Yale Drama School), Cohen has staged thirteen professional productions at the Utah and Colorado Shakespeare Festivals, plus well over a hundred productions at Stages Theatre Center (Hollywood), Virginia Museum Theatre (Richmond), Theatre 40 (Beverly Hills), Image Theatre (Boston), Summer Repertory Theatre (Santa Rosa), the Medieval Drama Project (Irvine), the Manhattan Theatre Source, various universities, and several operas, videos and films. In addition to Theatre and Theatre: Brief Edition, he is also the author of many theatre books, including Acting One, Advanced Acting, Acting in Shakespeare, Acting Professionally, Acting Power, More Power to You, Giraudoux: Three Faces of Destiny, Creative Play Direction, and two dramatic anthologies. His essays have appeared in Theatre Journal, Theatre Topics, Theatre Forum, Theatre Survey, Modern Drama, Theater der Zeit, Essays in Theatre, On Stage Studies, The Drama Review, Contemporary Literature, Contemporary Literary Criticism, Slavic and East European Performance, Experiment and Innovation, and Dramatic Theory and Criticism. Cohen's play, The Prince, published by Dramatic Publishing Company, has been professionally produced in Long Beach, Pittsburgh, Budapest, and in staged readings in New York and Los Angeles; his dramatic translations (The Bourgeois Gentleman, The Misanthrope, Clizia, Tibi's Law) and opera translations (The Magic Flute, Carmen) have been both produced and published widely. For the past twenty years, Cohen has been the Southern California drama critic for Plays International, reviewing over two hundred plays. In 1999, he received the national Career Achievement award from ATHE - the Association for Theatre in Higher Education.
Need support? We're here to help - Get real-world support and resources every step of the way.