Essential Acting A Practical Handbook For Actors Teachers And Directors 1st Edition Brigid Panet by Brigid Panet 0415476771, 9780415476775, 9780203882382 instant download after payment.

HOW DO ACTORS FUSE THOUGHT, EMOTION and ACTION WITHIN THEIR CREATIVE PROCESS?. Essential Acting is an inspired and reliable toolbox for actors and teachers in the classroom, the rehearsal room and the workshop. RADA?s Brigid Panet has distilled 50 years of acting, directing and actor training into a unique recipe which brilliantly combines the teachings of Stanislavski and Laban into an invaluable practical resource. These exercises are built around the need for simple, achievable techniques that can be applied by actors, teachers and directors to answer the myriad requirements of actor traini.
Content: Book Cover; Title; Copyright; Contents; Introduction; Acknowledgements; Part One Acting exercises; 1 Introduction; 2 Making a good start; 3 Experiencing the Three Essentials; 4 The Magic 'If'; 5 Exercises in immediate response; 6 Acting skills, to be applied to rehearsal and performance; Part Two Acting is behaving; 7 Status; 8 Eye-gaze; 9 Confidence, poise and balance; Part Three The rehearsal process; 10 Meeting the play; 11 Bringing the text to life; 12 The actor's work on a character; Part Four Tips and techniques; 13 Unstrung pearls; 14 Breath; 15 Playing the scene. Part Five An introduction to playing Shakespeare16 Shakespeare's language; 17 Handling Shakespeare's language; Part Six Workshops in Laban movement for actors; 18 The four elements; 19 Flow; 20 Space; 21 Time; 22 Force; 23 The Eight Laban Effort Actions; Appendix: Some suggestions to help with drama-school auditions; Postscript; Notes; Index.
Abstract: HOW DO ACTORS FUSE THOUGHT, EMOTION and ACTION WITHIN THEIR CREATIVE PROCESS?. Essential Acting is an inspired and reliable toolbox for actors and teachers in the classroom, the rehearsal room and the workshop. RADA?s Brigid Panet has distilled 50 years of acting, directing and actor training into a unique recipe which brilliantly combines the teachings of Stanislavski and Laban into an invaluable practical resource. These exercises are built around the need for simple, achievable techniques that can be applied by actors, teachers and directors to answer the myriad requirements of actor traini