The Actor As Storyteller: An Introduction To Acting PDF
Preview The Actor As Storyteller: An Introduction To Acting
Copyright © 2000, 2012 by Bruce Miller All rights reserved. No part of this book may be reproduced in any form, without written permission, except by a newspaper or magazine reviewer who wishes to quote brief passages in connection with a review. Second edition published in 2012 by Limelight Editions An Imprint of Hal Leonard Corporation 7777 West Bluemound Road Milwaukee, WI 53213 Trade Book Division Editorial Offices 33 Plymouth St.,Montclair, NJ 07042 Originally published in 2000 by Mayfield Publishing Company Parts of this book first appeared in some form in Dramatics magazine or Teaching Theatre journal. Library of Congress Cataloging-in-Publication Data Miller, Bruce J. The actor as storyteller : an introduction to acting / Bruce Miller.– 2nd ed. p. cm. Originally published: Mountain View, CA : Mayfield Pub., 2000. Includes bibliographical references. ISBN 978-0-87910-386-6 (pbk.) 1. Acting. I. Title.=20 PN2061.M46 2012 792.02'8–dc23 2011048679 ISBN 978-0-87910-386-6 www.limelighteditions.com To J—ever an inspiration Also by Bruce Miller Head-First Acting The Scene Study Book Acting Solo Actor’s Alchemy Contents Preface Part I: Background Chapter 1: Why the Theatre to Study Acting? Acting Students Today The Ravages of Mass Media Discovering All Your Actor’s Roots Going to the Source Summary Chapter 2: What Is Theatre? A Definition of Theatre The Performer The Performance The Audience Summary Chapter 3: Stage Acting and Film Acting: Same Game, Different Surface Some Misconceptions about Stage and Screen Acting The Actor’s Medium versus the Director’s Medium Adjusting to Technical Demands Summary Chapter 4: Inside Out, Outside In: From Stanislavski to Strasberg Craft versus Art Technique: Stanislavski or Strasberg? Choosing Wisely Summary PART II: ADVANCING THE STORY Chapter 5: The 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 Chapter 6: Given Circumstances and Playing the Action Given Circumstances The “Magic If” Learning the Score Action and Emotion “As If”s Summary Chapter 7: Acting with Conflict Using Conflict Finding the Story Types of Conflict Conflict to Objective Conflict and Character Summary Chapter 8: Finding and Playing Objectives Actions Make Emotions Selection, 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 Chapter 9: Listening and Staying In the Moment The Importance of Listening Improving Your Listening Ability Listening and Playing Objectives Summary Chapter 10: Interpreting and Using Dialogue Contextual Meaning and Subtext The Importance of Subtext and Context Analyzing a Script to Tell the Story Summary Chapter 11: Working with People, Places, and Things Relating to Things Categorizing Defining and Using the Space Defining and Using Relationships Summary Chapter 12: Good Storytelling: Using Objectives and Circumstances Effectively Dialogue and Levels of Meaning Circumstances Define Story Dealing with Emotional Circumstances Objectives and Circumstances Using “As If”s Actions from Emotions and Emotions from Actions Always Analyzing and Making Choices Summary PART III : APPLYING THE TOOLS Chapter 13: Script Analysis: A Blueprint for Storytelling Reading for the Story Asking the Right Questions Dialogue Serving the Story Summary Chapter 14: Rehearsing the Scene: Preparing for the First Read Choosing a Scene The First Read Using Improv Summary Chapter 15: 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 Chapter 16: Using the Words: Discovering and Telling the Story Elevated Language Using Literal, Contextual, and Subtextual Meaning Justifying the Lines Summary Chapter 17: Taking the Script Apart and Putting It Together: A Review and Practice A Review The Physical Aspects of Acting The Script Analysis Synthesis: Finding and Playing the Actions Summary Chapter 18: Theatrical Conventions and Style Conventions and Believability Language and the Playwright’s Style Types of Style The Roots of Style The World of “Realism” Some Concluding Thoughts about Style Summary Chapter 19: Criticism Critiquing a Production Critiquing Work in Class Receiving Criticism Effectively Summary PART IV: PUTTING THE PIECES TOGETHER Chapter 20: Auditioning Casting Auditioning with a Scene Cold Readings Auditioning with a Monologue Performing the Audition Auditioning with a Song Summary Chapter 21: Defining the Role Putting the Pieces Together Characters Serve the Play
Description:The list of books you might like
