Playing the Audience: The Practical Actor's Guide to Live PerformanceApplause, 2002 - 257 Seiten In this book divided into eight chapters, author James Nicola reveals how the technique of live acting springs directly from the unique relationship between the performer and the spectator. Playing the Audience includes advice on: creating a character from the stage - from external gestures to inner dialogue; scoring the text; subtext; emotional memory; substitution; conflict; objectives; through-line of action; improvisation; blocking a scene; language and speech; connecting to the world of the play; and much more. |
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Seite 15
... mind or need their particular attention , allegiance , or participation because the dialogue entails : • irony , or other moments when your inner meaning contrasts with the text ; • conjecture , so the audience sees the possible future ...
... mind or need their particular attention , allegiance , or participation because the dialogue entails : • irony , or other moments when your inner meaning contrasts with the text ; • conjecture , so the audience sees the possible future ...
Seite 90
... mind , let us start with the connection between just two people . If you have not done exercises like this before , it may not be as easy as you think . Without Text This exercise can be done one pair at a time while everyone else ...
... mind , let us start with the connection between just two people . If you have not done exercises like this before , it may not be as easy as you think . Without Text This exercise can be done one pair at a time while everyone else ...
Seite 129
... mind between the first glance and the second . Usually they are a second or two ahead of you . Do not be afraid of overacting in these take exercises , even if you look clumsy once or twice . The point of the practice is clarity , not ...
... mind between the first glance and the second . Usually they are a second or two ahead of you . Do not be afraid of overacting in these take exercises , even if you look clumsy once or twice . The point of the practice is clarity , not ...
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Playing the Audience: The Practical Actor's Guide to Live Performance James B. Nicola Eingeschränkte Leseprobe - 2002 |
Häufige Begriffe und Wortgruppen
able acting action active actor actually adjustment audience ball become beginning blocking breath cast character character's choices clues connection convey course dialogue directions director effective emotion entire event Example exercise eyes fact feel finally French gesture give going hand happen Hedda idea images inner invite involves keep language later least listener live look mean merely mind moment natural necessarily never night Note objective once onstage particularly pause performance person physical play playwright plot production rehearsal Remember repeat requires role scene script sense Shakespeare silence simply someone Sometimes sound speak speech stage starts story stress suggests sure syllables talk technique tell theater theatrical thing thoughts turn words York