
The Actor Uncovered
Description
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- Techniques, styles, and methods in a changing society
- Relaxation, concentration, and the breath
- The relationships among actor, director, and writer
- Memory
- On camera versus on stage
- Obstacles
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Content
- Intro
- Title Page
- Copyright
- Dedication
- Table of Contents
- Introduction by Michael Kahn
- A Note from the Author
- Prologue
- Beginnings
- I: The Actor in the World
- Chapter 1: The Actor in the World
- Performers and Actors
- The Actor-Artist
- The Lie of the Theater
- The Specific versus the General
- Real versus Natural
- Truth
- Aim
- The Real World
- Chapter 2: Techniques, Styles, and Methods in a Changing Society
- And Then Came Technology
- And Television?
- Chapter 3: The Loneliness of the Long-Distance Actor and the Need for Community
- The Family
- Success
- The Elegant Solution
- Superstition
- Traditions
- Chapter 4: Relaxation, Concentration, and the Breath
- Relaxation
- Tension in Life
- Relaxation for the Actor
- Concentration: To Focus the Attention, Stay Focused, and Shift the Focus
- The Breath
- Chapter 5: The Audition
- II: In Rehearsal
- Chapter 6: Confronting the Character
- The First Days
- Hamlet's Hat
- Tools of Discovery
- The Elusive Character
- Everything That Happens to the Actor Is Happening to the Character
- Chapter 7: The Partner
- Chapter 8: The Relationship between Actor and Director . . . and Writer
- Stanislavski and the Creative Community
- The Actor as Event Detective
- Today's Hurry-Up World
- The Worst-Case Scenario
- Chapter 9: Action, Obstacle, Immediacy
- The Doable Action
- The Desired Obstacle
- Now, Immediacy
- Chapter 10: Memory
- Literature's Most Famous Cookie
- Mammalian Memory
- Chapter 11: Listening to the Body
- The Body-Brain
- III: In Performance
- Chapter 12: Preparation: Internal and External
- First, Getting to Neutral
- Internal and External Preparation
- Film Preparation
- Preparation for Different Kinds of Actors
- The Mask, the Unmasked, and the Mask That Reveals
- Chapter 13: In Performance
- The Theatrical Triangle
- Craft, Experience, and Art
- The Actor and the Audience
- The Pause
- Chekhov, The Cherry Orchard, and the Pause
- The Audience and the Seriousness of What's Funny
- Staying within Oneself: The Comedic and the Non-comedic
- Technique: What Does It Encompass?
- Technique and Tricks
- Orientation
- Entrances and Exits
- How Much Should One Performance Be Like the Last One?
- Repeating the Inspired or Required Moment
- Mysteries and Puzzles
- Stage Fright
- Chapter 14: On Camera versus Onstage
- Chapter 15: The Always-Present Internal Improvisation
- IV: The Continuing Profession
- Chapter 16: Why an Actor's Laboratory?
- The First Day
- After the First Day . . .
- Group Work, Exercise Work
- Scene Work
- Private in Public and the Class Community
- Chapter 17: What Makes a Good Teacher?
- Chapter 18: Out on a Limb
- Chapter 19: Obstacles
- The Deadening Effect of Categorizing
- An Even Greater Obstacle
- Solutions
- Epilogue
- Memoirs: Hits, Misses, and Small Catastrophes
- The Gift
- Acknowledgments
- Index
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