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The actor as storyteller : an introduction to acting

Autor: Bruce J Miller
Editorial: Milwaukee, WI : Limelight Editions, 2012.
Edición/Formato:   Libro : Inglés (eng) : 2nd edVer todas las ediciones y todos los formatos
Base de datos:WorldCat
Resumen:
Overview: Book The Actor as Storyteller is intended for serious beginning actors. It opens with an overview, explaining the differences between theater and its hybrid mediums, the part an actor plays in each of those mediums. It moves on to the acting craft itself, with a special emphasis on analysis and choice-making, introducing the concept of the actor as storyteller, then presents the specific tools an actor  Leer más
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Detalles

Tipo de documento: Libro/Texto
Todos autores / colaboradores: Bruce J Miller
ISBN: 9780879103866 0879103868
Número OCLC: 744286202
Notas: Originally published: Mountain View, CA : Mayfield Pub., 2000.
Descripción: xiii, 329 p. ; 23 cm.
Contenido: Preface --
Part 1: Background: --
Why the theatre to study acting?: --
Acting students today --
Ravages of mass media --
Discovering all your actor's roots --
Going to the source --
Summary --
What is theatre?: --
Definition of theatre --
Performer --
Performance --
Audience --
Summary --
Stage acting and film acting: same game, different surface: --
Some misconceptions about stage and screen acting --
Actor's medium versus the director's medium --
Adjusting to technical demands --
Summary --
Inside out, outside in: from Stanislavski to Strasberg: --
Craft versus art --
Technique: Stanislavski or Strasberg? --
Choosing wisely --
Summary --
Part 2: Advancing The Story: --
Actor in service of the script: --
Good actors tell the story --
Finding the conflict and playing objectives --
Building dramatic conflict --
Physical actions: beginnings, middles, and ends --
Telling good stories --
Using each other: where the story lies --
Masters doing the basics --
Summary --
Given circumstances and playing the action: --
Given circumstances --
Magic "if" --
Learning the score --
Action and emotion --
As ifs --
Summary --
Acting with conflict: --
Using conflict --
Finding the story --
Types of conflict --
Conflict to objective --
Conflict and character --
Summary --
Finding and playing objectives: --
Actions make emotions --
Selections, control, and repeatability --
Playing the dramatic situation --
Discovering objectives and stakes --
Building the story through objectives --
Character through actions: tactics and risk --
Simplicity and playing the positive --
Summary --
Listening and staying in the moment: --
Importance of listening --
Improving your listening ability --
Listening and playing objectives --
Summary --
Interpreting and using dialogue: --
Contextual meaning and subtext --
Importance of subtext and context --
Analyzing a script to tell the story --
Summary --
Working with people, places, and things: --
Relating to things --
Categorizing --
Defining and using the space --
Defining and using relationships --
Summary --
Good storytelling: using objectives and circumstances effectively: --
Dialogue and levels of meanings --
Circumstance define story --
Dealing with emotional circumstances --
Objectives and circumstances --
Using "as if" --
Actions from emotions and emotions from actions --
Always analyzing and making choices --
Summary --
Part 3: Applying The Tools: --
Script analysis: a blueprint for storytelling: --
Reading for the story --
Asking the right questions --
Dialogue serving the story --
Summary --
Rehearsing the scene: preparing for the first read: --
Choosing a scene --
First read --
Using improve --
Summary --
Rehearsing the scene: blocking and working it: --
Using blocking to tell the story --
Playing in a defined space --
Movement --
Gestures --
Props and business --
Working through the scene --
Final notes --
Summary --
Using the words: discovering and telling the story: --
Elevated language --
Using literal, contextual, and subtextual meaning --
Justifying the lines --
Summary --
Taking the script apart and putting it together: a review and practice: --
Review --
Physical aspects of acting --
Script --
Analysis --
Synthesis: finding and playing the actions --
Summary --
Theatrical conventions and style: --
Conventions and believability --
Language and the playwright's style --
Type of style --
Roots of style --
World of "realism" --
Some concluding thoughts about style --
Summary --
Criticism: --
Critiquing a production --
Critiquing work in class --
Receiving criticism effectively --
Summary --
Part 4: Putting The Pieces Together: --
Auditioning --
Casting --
Auditioning with a scene --
Cold readings --
Auditioning with a monologue --
Performing the audition --
Auditioning with a song --
Summary --
Defining the role: --
Putting the pieces together --
Characters serve the play --
Research and analysis --
Reading for the author's viewpoint --
Reading for the audience's viewpoint --
Reading for the character's viewpoint --
Summary --
Developing the role: the rehearsal process: --
Arc or throughline of action --
Developing the role through the rehearsal process --
Summary --
What you need to succeed: --
Luck --
Knowing the right people --
Money to sustain you --
Looks and the willingness to recognize yourself as a commodity --
Healthy ego --
Patience --
Aggressiveness --
Avoiding comparisons --
Talent and training --
Summary --
Train coming / Alan Haehnel --
Acknowledgments --
Suggested reading --
Glossary --
Bibliography --
Index.
Responsabilidad: Bruce Miller.

Resumen:

Overview: Book The Actor as Storyteller is intended for serious beginning actors. It opens with an overview, explaining the differences between theater and its hybrid mediums, the part an actor plays in each of those mediums. It moves on to the acting craft itself, with a special emphasis on analysis and choice-making, introducing the concept of the actor as storyteller, then presents the specific tools an actor works with. Next, it details the process an actor can use to prepare for scene work and rehearsals, complete with a working plan for using the tools discussed. The book concludes with a discussion of mental preparation, suggestions for auditioning, a process for rehearsing a play, and an overview of the realities of show business. Included in this updated edition are:A detailed examination of script analysis of the overall play and of individual scenes; A sample of an actor's script, filled with useful script notations; Two new short plays, one written especially for this text; Updated references, lists of plays, and recommended further reading.

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Datos enlazados


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schema:description"Overview: Book The Actor as Storyteller is intended for serious beginning actors. It opens with an overview, explaining the differences between theater and its hybrid mediums, the part an actor plays in each of those mediums. It moves on to the acting craft itself, with a special emphasis on analysis and choice-making, introducing the concept of the actor as storyteller, then presents the specific tools an actor works with. Next, it details the process an actor can use to prepare for scene work and rehearsals, complete with a working plan for using the tools discussed. The book concludes with a discussion of mental preparation, suggestions for auditioning, a process for rehearsing a play, and an overview of the realities of show business. Included in this updated edition are:A detailed examination of script analysis of the overall play and of individual scenes; A sample of an actor's script, filled with useful script notations; Two new short plays, one written especially for this text; Updated references, lists of plays, and recommended further reading."
schema:description"Preface -- Part 1: Background: -- Why the theatre to study acting?: -- Acting students today -- Ravages of mass media -- Discovering all your actor's roots -- Going to the source -- Summary -- What is theatre?: -- Definition of theatre -- Performer -- Performance -- Audience -- Summary -- Stage acting and film acting: same game, different surface: -- Some misconceptions about stage and screen acting -- Actor's medium versus the director's medium -- Adjusting to technical demands -- Summary -- Inside out, outside in: from Stanislavski to Strasberg: -- Craft versus art -- Technique: Stanislavski or Strasberg? -- Choosing wisely -- Summary -- Part 2: Advancing The Story: -- Actor in service of the script: -- Good actors tell the story -- Finding the conflict and playing objectives -- Building dramatic conflict -- Physical actions: beginnings, middles, and ends -- Telling good stories -- Using each other: where the story lies -- Masters doing the basics -- Summary -- Given circumstances and playing the action: -- Given circumstances -- Magic "if" -- Learning the score -- Action and emotion -- As ifs -- Summary -- Acting with conflict: -- Using conflict -- Finding the story -- Types of conflict -- Conflict to objective -- Conflict and character -- Summary -- Finding and playing objectives: -- Actions make emotions -- Selections, control, and repeatability -- Playing the dramatic situation -- Discovering objectives and stakes -- Building the story through objectives -- Character through actions: tactics and risk -- Simplicity and playing the positive -- Summary -- Listening and staying in the moment: -- Importance of listening -- Improving your listening ability -- Listening and playing objectives -- Summary -- Interpreting and using dialogue: -- Contextual meaning and subtext -- Importance of subtext and context -- Analyzing a script to tell the story -- Summary -- Working with people, places, and things: -- Relating to things -- Categorizing -- Defining and using the space -- Defining and using relationships -- Summary -- Good storytelling: using objectives and circumstances effectively: -- Dialogue and levels of meanings -- Circumstance define story -- Dealing with emotional circumstances -- Objectives and circumstances -- Using "as if" -- Actions from emotions and emotions from actions -- Always analyzing and making choices -- Summary -- Part 3: Applying The Tools: -- Script analysis: a blueprint for storytelling: -- Reading for the story -- Asking the right questions -- Dialogue serving the story -- Summary -- Rehearsing the scene: preparing for the first read: -- Choosing a scene -- First read -- Using improve -- Summary -- Rehearsing the scene: blocking and working it: -- Using blocking to tell the story -- Playing in a defined space -- Movement -- Gestures -- Props and business -- Working through the scene -- Final notes -- Summary -- Using the words: discovering and telling the story: -- Elevated language -- Using literal, contextual, and subtextual meaning -- Justifying the lines -- Summary -- Taking the script apart and putting it together: a review and practice: -- Review -- Physical aspects of acting -- Script -- Analysis -- Synthesis: finding and playing the actions -- Summary -- Theatrical conventions and style: -- Conventions and believability -- Language and the playwright's style -- Type of style -- Roots of style -- World of "realism" -- Some concluding thoughts about style -- Summary -- Criticism: -- Critiquing a production -- Critiquing work in class -- Receiving criticism effectively -- Summary -- Part 4: Putting The Pieces Together: -- Auditioning -- Casting -- Auditioning with a scene -- Cold readings -- Auditioning with a monologue -- Performing the audition -- Auditioning with a song -- Summary -- Defining the role: -- Putting the pieces together -- Characters serve the play -- Research and analysis -- Reading for the author's viewpoint -- Reading for the audience's viewpoint -- Reading for the character's viewpoint -- Summary -- Developing the role: the rehearsal process: -- Arc or throughline of action -- Developing the role through the rehearsal process -- Summary -- What you need to succeed: -- Luck -- Knowing the right people -- Money to sustain you -- Looks and the willingness to recognize yourself as a commodity -- Healthy ego -- Patience -- Aggressiveness -- Avoiding comparisons -- Talent and training -- Summary -- Train coming / Alan Haehnel -- Acknowledgments -- Suggested reading -- Glossary -- Bibliography -- Index."
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