Acting Skills for Life: Third EditionDundurn, 1999/09/01 - 380 ページ Of all the subjects taught in the school system, dramatic arts probably has the greatest potential to help students prepare for life. The study of acting helps students develop personal and social skills: increased poise and confidence, better awareness of their physical and vocal selves, and an improved ability to think and react quickly. These talents can help in dealing with sometimes difficult real life situations. The intention of Acting Skills for Life is to integrate personal growth and the process of creative drama with the more formal skills required for stage production. This is a very practical book, full of suggestions for drama exercises and improvisations, developed over Cameron's thirty years of teaching drama, and includes helpful information for teachers working with students on stage productions. |
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... energy and to channel that energy into your performance . Acting teaches an awareness of physical and vocal selves - how we move , what messages we project , how we command attention . Such knowledge will give you both an added vocal ...
... energy level , vocal rhythm , and projection of character that is acceptable within our community : in short , all the components of theatre are present . Memory work : one kind of work Yet , when 27 Chapter One : An Introduction to Acting.
... energy of the occasion . First , then , an understood contract exists between the actor and the audience , one that is based on centuries of ritual . For hundreds of years , theatre has helped explain us to ourselves , whether we are on ...
... energy or been unable to see a piece of staging because of muddy blocking ? It requires a lot of work on the actors ' part to achieve physical and vocal clarity . The best actors develop their mental , physical , and vocal flexibility ...
... energy of the swing . ( c ) The bounce : Bouncing should be a loose , up - and - down action that you will perform successfully only if you retain the looseness you have acquired in the first two stages of this exercise . Keep your ...
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25 | |
33 | |
43 | |
Voice and the Actor | 71 |
Developing the Actors Voice | 99 |
Voice and Text | 119 |
Working with the Five Senses | 145 |
External Approaches to Characterization | 271 |
Psychology and Acting | 287 |
Stimulating New Ideas in Acting | 317 |
Stage Fighting | 333 |
Comedy and Style | 343 |
Todays Influences on Acting | 361 |
Approaching Shakespeare | 377 |
Shakespeare and the Actor | 405 |
The Beginning Ssteps of Acting | 169 |
Acting and Physicality | 185 |
Dramatic Structure and Stage Blocking | 209 |
Getting Into Character | 237 |
Internal Approaches to Characterization | 257 |
How to Help the Actor with Problems in Acting | 427 |
Advice for the Novice Director | 443 |
Advice for Further Studies | 463 |
475 | |