Objectives, Obstacles, and Tactics in Practice is the first book that compiles practical approaches of the best practices from a range of practitioners on the subject of working with Stanislavski's "objectives," "obstacles," and "tactics."
The book offers instructors and directors a variety of tools from leading acting teachers, who bring their own individual perspectives to the challenge of working with Stanislavski's principles for today's actors, in one volume. Each essay addresses its own theoretical and practical approach and offers concrete instructions for implementing new explorations both in the classroom and in the rehearsal studio.
An excellent resource for acting and directing instructors at the university level, directing and theatre pedagogy students, high school/secondary theatre teachers, and community theatre leaders, Objectives, Obstacles, and Tactics in Practice serves as a resource for lesson planning and exploration, and provides an encyclopedia of the best practices in the field today.
Sprache
Verlagsort
Verlagsgruppe
Zielgruppe
Für Beruf und Forschung
Academic and Professional Practice & Development
Illustrationen
7 s/w Abbildungen, 3 s/w Photographien bzw. Rasterbilder, 4 s/w Zeichnungen, 3 s/w Tabellen
3 Tables, black and white; 4 Line drawings, black and white; 3 Halftones, black and white; 7 Illustrations, black and white
Maße
Höhe: 229 mm
Breite: 152 mm
Gewicht
ISBN-13
978-1-138-33593-6 (9781138335936)
Copyright in bibliographic data and cover images is held by Nielsen Book Services Limited or by the publishers or by their respective licensors: all rights reserved.
Schweitzer Klassifikation
Valerie Clayman Pye is an Assistant Professor of Theatre in the School of Performing Arts at LIU Post, where she teaches Acting, Voice, and Speech, and Shakespeare in Performance. She is the author of Unearthing Shakespeare: Embodied Performance and the Globe (Routledge 2017).
Hillary Haft Bucs is an actor/improviser, playwright, and director. She is an Associate Professor of Theatre at Western New England University where she teaches Acting, Improvisational Comedy, and Playwriting.
ACKNOWLEDGMENTS
Introduction
PART I Playing Objectives
Chapter 1 Money in Your Pocket: Meisner, Objectives, and the First Six Lines
DENNIS SCHEBETTA
Chapter 2 Psychological Gesture: Michael Chekhov Exercises on Physicalizing the Objective
ANJALEE DESHPANDE HUTCHINSON
Chapter 3 Making Sport of Objectives: Teaching through Student-Developed Physical Competition
JOHN KAUFMANN
Chapter 4 Structured Improvised Scenes
TIMOTHY JOHNSON
Chapter 5 Scoring the Un-Scorable
MARIA PORTER
Chapter 6 Creating a Physical Score in a Snap: Using Social Media to Appeal to the Smartphone Generation
TOM PACIO
PART II Overcoming Obstacles
Chapter 7 Engaging Obstacles
KEVIN HOFFMANN
Chapter 8 Active Obstacle Image Scoring
DAVID HUGO
Chapter 9 Resistance
JANET HAYATSHAHI
Chapter 10 Returning the Dress: Demonstrating Objectives, Obstacles, and Tactics
DAVIDA BLOOM
Chapter 11 Improvised Fantasies: Heightening Objectives and Obstacles in Scene Work
HILLARY HAFT BUCS
Chapter 12 Optimizing the Obstacle: Using Indicators of Csikszentmihalyi's Flow to Help Select, Test,
and Experience Stanislavski's Obstacles
FABIO POLANCO AND DIANE BONFIGLIO
PART III Identifying Tactics
Chapter 13 The Tag-tic that Works
LYNN DEBOECK
Chapter 14 Improvising Tactical Choices Based on Status
or "Who's Driving the Dramatic Action Bus?"
JEAN DOBIE GIEBEL
Chapter 15 Transformational Tactics: Engaging Students
in the Heroic Pursuit of Their Objective
KIM SHIVELY
Chapter 16 Hunter/Hunted: Experiential Learning and the
Actor's Craft
VALERIE CLAYMAN PYE
Chapter 17 Tactics and Action Drives: Stanislavski
Meets Laban
CONRAD ALEXANDROWICZ
Chapter 18 Stanislavski in the Voice Studio
DERIC MCNISH
Chapter 19 Stimulating Embodied Tactical Actions
LESLEY-ANN TIMLICK
Chapter 20 NRGs and the Nature of Action: The Lessac Tactic Circle
CAROLINE GOOD
Chapter 21 Relaying Action - from Breath to Text
AARON ALPERN AND REBECCA COVEY
Chapter 22 Using Improvisation to Identify Tactics
NATHAN STITH
Chapter 23 Activating the Actor with Game Theory: Using Gamification to Create Playable Tactics on Stage
JEANNE LEEP
AFTERWORD
Chapter 24 Recording Truth: The Camera in Acting Training
WELKER WHITE
CONTRIBUTOR BIOGRAPHIES
CHAPTER ABSTRACTS
INDEX
