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Acting Is Believing

ISBN: 9780495050339 | 0495050334
Edition: 9th
Format: Hardcover
Publisher: Cengage Learning
Pub. Date: 2/6/2006

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SummaryTable of Contents
Emphasizing that "an actor must believe to make his audience believe," ACTING IS BELIEVING remains one of the classic texts in the field of acting. Charles McGaw's and Larry D. Clark's earlier editions influenced generations of actors, and the book has been completely updated by Kenneth Stilson with the hope of inspiring today's future professionals. The Ninth Edition has an expanded theoretical grounding, while providing numerous new and revised exercises to help today's acting student apply the key concepts of a Stanislavski-based training pr... MORE
Forewordx
Prefacexiii
PART I The Actor
CHAPTER 1 Training Your Talent
1(17)
Acting with Professional Comp... MORE
7(7)
Exploring Your Resources
14(2)
Terms and People to Know
16(2)
CHAPTER 2 Approaching the Creative State
18(17)
Training Your Body
19(2)
Conquering Inhibitions
21(5)
Entering the Creative State
26(8)
Exercise 2.1: Focusing
26(1)
Exercise 2.2: Meditating
26(1)
Exercise 2.3: Tensing and Releasing
27(1)
Exercise 2.4: Centering
28(1)
Exercise 2.5: Shaking
28(1)
Exercise 2.6: Stretching
28(3)
Exercise 2.7: Moving
31(2)
Exercise 2.8: Vocalizing
33(1)
Terms and People to Know
34(1)
CHAPTER 3 Discovering Physical Actions
35(25)
Committing Yourself to Action
41(3)
Exercise 3.1: Discovering Actions
43(1)
Believing Your Actions
44(3)
Incorporating Improvisational Technique
47(2)
Exercise 3.2: Improvising Simple Tasks
49(1)
Making a Score of Physical Actions
49(8)
Exercise 3.3: Scoring from Scenarios
55(2)
Terms and People to Know
57(3)
CHAPTER 4 Defining Simple Objectives
60(28)
Stating the Objective
65(1)
Exercise 4.1: Refining Your Score
65(1)
Incorporating Action Verbs
66(5)
Exercise 4.2: Doing Versus Being
67(2)
Exercise 4.3: Action from an Emotional State
69(1)
Exercise 4.4: Everyday Actions
70(1)
Working Against Obstacles
71(2)
Exercise 4.5: Opposing Objectives
71(2)
Employing Strategy
73(2)
Adapting to Changing Circumstances
75(2)
Improvising Group Scenes
77(8)
Exercise 4.6: Not on Speaking Terms
78(1)
Exercise 4.7: Waiting
78(1)
Exercise 4.8: Gibberish
78(1)
Exercise 4.9: Aliens
79(2)
Exercise 4.10: Building a Situation
81(1)
Exercise 4.11: Group Improvisations from Scenarios
82(1)
Exercise 4.12: Non-Content Scenes
83(2)
Terms and People to Know
85(3)
CHAPTER 5 Developing Your Powers of Observation
88(21)
Exercise 5.1: Playing a Condition
93(1)
Exercise 5.2: Three Objects
94(1)
Exercise 5.3: Adjusting to Conditions
95(1)
Observing People
96(3)
Exercise 5.4: Observation Notebook
98(1)
Adapting Observations Through the Imagination
99(3)
Exercise 5.5: Supplying Circumstances for Observed Behavior
101(1)
Exercise 5.6: Creative Impulses
102(1)
Observing Objects and Animals
102(5)
Exercise 5.7: Movement Abstracted from Inanimate Objects
104(3)
Exercise 5.8: Movement Abstracted from Animals
107(1)
Exercise 5.9: Creating a Score from Abstraction
107(1)
Terms and People to Know
107(2)
CHAPTER 6 Exploring Circles of Attention
109(24)
Exercise 6.1: Distractions
111(1)
Exercise 6.2: Add-a-Word i
111(1)
Exercise 6.3: Body Coordination
112(1)
Channeling Your Energy
112(3)
Exercise 6.4: Concentrating on Action
114(1)
Relating to Objects
115(4)
Exercise 6.5: Scoring a Sequence with Objects
118(1)
Infecting Your Partner
119(5)
Exercise 6.6: Mirrors
119(3)
Exercise 6.7: The Invisible Antennae
122(1)
Exercise 6.8: Communion
122(2)
Communing with the Audience
124(2)
Making an Action of Speech
126(5)
Exercise 6.9: Speaking Every Line with Purpose
127(2)
Exercise 6.10: Key Line Improvisation
129(2)
Terms and People to Know
131(2)
CHAPTER 7 Investigating the Subconscious
133(17)
Recalling Sense and Emotion Memory
135(1)
Retaining an Original Experience
136(1)
Selecting the Experience
137(2)
Using the Experience
139(2)
Exercise 7.1: Reconstructing an Experience
141(1)
Visualizing Inner Images
141(5)
Exercise 7.2: Seeing Images
144(1)
Exercise 7.3: Image Improvisations
145(1)
Planning Your Inner Monologues
146(2)
Exercise 7.4: Speaking Your Inner Monologue
148(1)
Terms and People to Know
148(2)
PART II The Actor and the Play
CHAPTER 8 Creating a Character
150(24)
Doing Your Homework
151(2)
Penetrating the Script
153(1)
Identifying the Motivating Force
154(2)
Constructing "Your" Autobiography
156(3)
Autobiographical Worksheet
159(4)
Exercise 8.1: Constructing a Character Autobiography
161(1)
Exercise 8.2: Completing the Thoughts
162(1)
Uncovering the Units of Action
163(1)
Scoring the Units
163(4)
Exercise 8.3: Scoring a Role
167(1)
Incorporating "Your" Second Plan
167(2)
Exercise 8.4: Writing a Second Plan
169(1)
Finding the Outer Form
169(2)
Terms and People to Know
171(3)
CHAPTER 9 Expressing the Super-Objective
174(13)
Researching the World of the Play
175(2)
Exercise 9.1: Researching Your Character's World
177(1)
Finding the Super-Objective
177(4)
Assuming a Dual Personality
181(5)
Exercise 9.2: Relating the Super-Objective to Your Character
185(1)
Terms and People to Know
186(1)
CHAPTER 10 Interpreting the Lines
187(27)
Exploring the Subtext
189(5)
Exercise 10.1: Investigating Subtext
193(1)
Finding the Verbal Action
194(1)
Relating the Lines to the Motivating Force
195(1)
Relating the Lines to the Super-Objective
196(4)
Exercise 10.2: Interpreting Each Line
199(1)
Believing Your Character's Manner of Speaking
200(5)
Exercise 10.3: Studying Speech Patterns
205(1)
Motivating the Longer Speech
205(7)
Exercise 10.4: Practice Material for Longer Speeches
206(6)
Terms and People to Know
212(2)
CHAPTER 11 Communicating the Subtext
214(22)
Understanding Words
215(3)
Handling Sentences
218(2)
Exercise 11.1: Finding Operative Words
220(1)
Building a Progression
220(3)
Thinking Antithetically
223(1)
Sharing Imagery
224(11)
Exercise 11.2: Practice Material for Communicating Subtext
227(8)
Terms and People to Know
235(1)
PART III The Actor and the Production
CHAPTER 12 Getting the Job
236(22)
Understanding the Business of Acting
238(7)
Preparing Your Audition
245(4)
Auditioning
249(6)
Exercise 12.1: Constructing Your Portfolio
254(1)
Terms and People to Know
255(3)
CHAPTER 13 Transforming into Character
258(19)
Finding the Meaning
261(2)
Developing Your Character
263(1)
Creating and Refining the Form
264(2)
Making Technical Adjustments
266(1)
Polishing for Performance
267(2)
Working at Rehearsals
269(2)
Playing the Part
271(3)
Terms and People to Know
274(3)
APPENDIX A Suggested Plays for Scene Study277(8)
APPENDIX B Acting Power Verbs285(4)
APPENDIX C Theatre Resources289(5)
Endnotes294(5)
Bibliography299(4)
Index303

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