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Acting Lions : Unleash Your Craft In Today's Lightning Fast World of Film, Television and Theatre.

Author: Penny Templeton
Publisher: New York : Penny Templeton Studio, 2012.
Edition/Format:   eBook : Document : EnglishView all editions and formats
Database:WorldCat
Summary:
Acting has drastically changed from the days of Stanislavsky and the Group Theatre, when techniques were geared for the actor who would rehearse for 5 or 6 months, or more. Gradually, the business began speeding up, as television and film work increased and theatre rehearsals went from 8 weeks to 6 weeks, down to the current 4 weeks. What didn't evolve was the way the techniques (the craft) were presented and used  Read more...
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Details

Genre/Form: Electronic books
Additional Physical Format: Print version:
Material Type: Document, Internet resource
Document Type: Internet Resource, Computer File
All Authors / Contributors: Penny Templeton
ISBN: 9780984884728 0984884726
OCLC Number: 811507016
Description: 1 online resource (340 pages)
Contents: Dedication; Table of Contents; Acknowledgements; A Special Thank You; Who Am I?; Why I Wrote This Book; PART I: ARTISTRY; 1. How to be a Working Artist Without Taking 20 Years To Do It; What Is an Artist; Steps to Artistry; Evaluate Your Skill Level; How To Work Smart; 2. Creating You; Take Off the Mask; Bring Yourself To the Role; Frame Yourself; PART II: TECHNIQUE; 3. A New Revolution of Acting Challenges Embracing the Past To Build the Future; Constantin Stanislavsky; Lee Strasberg; Sanford Meisner; Stella Adler; Uta Hagen; 4. Technique Under Pressure: Using the Craft In Today's World. The RealityTransitioning From One Medium to the Next; 5. Where to Start --
Script Analysis; Working With the Script; Answering the Questions; Under 5 Scene; Day Player Scene; When You Don't Have the Entire Script; 6. Creating a Character; Recipe for Creating a Character; Your First Ingredient --
You!; Create Your Character's World; Charting the Character's Emotional Journey; Creating a Character Bio; You Cannot Play a Job; Character Interview; Real People as Characters; 7. Structure; Elements of the Structure; Breaking Down the Script; Purpose; Job; Styles; Types of Scenes; The Core. The HappinessConnect Yourself to the Role Emotionally; The Driving Question; Beats; Secret Inner Actions; Outer Tactics; Substitutions; Symbols; Choosing the Moment Before; Setting Choices; Putting It All Together; Preparation and Lift Off; Examples of a Structured Scene; 8. Essentials of an Actor's Toolbox; Fresh Substitutions; Substitution Chart; Endowing; Relaxation; Sensory; Playing Altered States; Chemistry; Moment to Moment; Three Levels of Thinking; Conflict; Stakes; Environment; Comedy; Props; Accents, Dialects, & Vocal Work; 9. Simple But Profound Keys Into the Work. 8 Exercises to Grow Your CraftThe Acting Barre{u00B4}; The Pillow Throw; The Sword Fight; The Dance; The Tap Dance; The Painting; 10-1 or How to Cry in 10 Seconds; The 10 Second Preparation; Improvisation; Developing a Consistent Process; 10. Blocking and Technical Aspects; Stagecraft; Blocking for the Camera; Working Inside the Frame; 11. Cutting Edge Acting: Using a Video Camera To Develop Your Artistry; Why a Camera?; Working Alone With a Camera; How to Do Sensory Exercises on Your Own; Technically Filling the Frame; Working on Camera With a Partner; Using the Camera for Theatre Work. Why Theatre Is the Most Important On Camera Class You will Ever Take12. Training; Choosing the Right Path; Finding a Teacher; Elements to Look For When Considering a Class; What if My Teacher{u2026}; Maximizing Your Acting Class; PART III: THE BUSINESS OF ARTISTRY; 13. Your Business Tools; Headshots; Resumes; Cover Letters; Reels; www.; Survival Jobs; Avoiding Scams; 14. How to Get Work; Know Who You Are; Finding Good Material; Auditioning in General; The Roles of Casting Directors and Agents; Casting Director & Agent Seminars; Submissions; Auditions and Callbacks; The Audition; Cold Copy.

Abstract:

Acting has drastically changed from the days of Stanislavsky and the Group Theatre, when techniques were geared for the actor who would rehearse for 5 or 6 months, or more. Gradually, the business began speeding up, as television and film work increased and theatre rehearsals went from 8 weeks to 6 weeks, down to the current 4 weeks. What didn't evolve was the way the techniques (the craft) were presented and used by the actor. I discovered that because of the fast paced industry, actors were increasingly abandoning their craft and acting by the seat of their pants. This has led to playing the.

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