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Book Categories |
Acting : what is it? | 1 | |
Agents | 4 | |
Amateur dramatics | 6 | |
Anecdotes and jokes | 8 | |
Attitude | 10 | |
Audience | 12 | |
Auditions | 14 | |
Battle of the sexes | 17 | |
Be yourself (plus!) | 20 | |
Believability | 22 | |
Blowing your nose | 25 | |
Breaking up (corpsing) | 27 | |
Business (biz) | 29 | |
Casting directors | 32 | |
Comedy and farce | 34 | |
Commercial casting sessions | 38 | |
Commitment | 42 | |
Conservatories and drama schools | 44 | |
Consistency | 46 | |
Costumes, wigs, and shoes | 48 | |
Crew | 51 | |
Designers | 54 | |
Dialects and accents | 56 | |
Directors | 58 | |
Discussions | 61 | |
Don't ask for permission | 63 | |
Don't give up | 65 | |
Drugs | 68 | |
Editing and acting | 70 | |
Example : Al and Bob's first meeting | 72 | |
Example : Anna Christie and her dad | 75 | |
Example : Broadway versus Hollywood | 78 | |
Example : brother and sister act | 82 | |
Example : Kate and Corpsing | 85 | |
Example : Lady Bracknell's handbag | 89 | |
Example : Mr. and Mrs. Noah fight | 93 | |
Example : Mr. Horner is exactly that | 96 | |
Example : Noel Coward on the phone | 99 | |
Example : Olivia's ends | 103 | |
Example : plunging in the deep end | 105 | |
Example : princely business | 109 | |
Example : signs of the times | 112 | |
Example : the silence of the lads | 116 | |
Example : valuable verbals | 119 | |
Example : you, thee - and the gold | 122 | |
Eye-to-eye contact | 125 | |
Fellow actors | 128 | |
Film versus television | 131 | |
Forgetting lines | 133 | |
Further training | 136 | |
Gear changes | 138 | |
Getting work | 140 | |
Good and bad taste | 143 | |
Hierarchy | 145 | |
Homework | 147 | |
Illness | 149 | |
Improvisation | 151 | |
Instinct versus intellect | 154 | |
Interviews | 156 | |
It's not what it used to be | 158 | |
Jobs requiring acting skills | 160 | |
Journey | 162 | |
Know your image | 164 | |
Laughter | 166 | |
Learning lines | 169 | |
Less is more? | 172 | |
Let the words do the work | 174 | |
Medieval acting | 176 | |
Melodrama acting | 177 | |
Method acting | 179 | |
Mistakes | 182 | |
Modern contemporary acting | 184 | |
Money is probably the answer | 186 | |
Movement and gestures | 188 | |
Multicamera versus single camera | 192 | |
Never say no | 194 | |
No training | 196 | |
Notes | 198 | |
Open auditions | 202 | |
Opposites | 204 | |
Outside-in versus inside-out | 206 | |
Over the top | 209 | |
Pauses | 211 | |
Performing | 213 | |
Photographs | 215 | |
Problems | 218 | |
Producers | 220 | |
Projection | 222 | |
Properties (props) | 224 | |
Pulling focus | 226 | |
Punctuality | 228 | |
Qualifications | 230 | |
Radio acting | 232 | |
Readings | 235 | |
Rehearsals (long, short, or none) | 238 | |
Rehearsing | 241 | |
Rejection | 244 | |
Restoration acting | 247 | |
Resumes | 249 | |
Role-play | 251 | |
Screen acting | 254 | |
Screen cheating | 257 | |
Screen reactions | 260 | |
Screen vocal levels | 262 | |
Sex and violence | 264 | |
Shakespeare acting | 266 | |
Shakespeare : first folio | 268 | |
Shakespeare : prose or poetry | 271 | |
Shakespeare : simple or complicated | 274 | |
Shakespeare : verse | 277 | |
Shakespeare : what you call people | 280 | |
Shakespeare : wordplay | 283 | |
Shooting and acting | 285 | |
Stars | 287 | |
Starting off | 290 | |
Step-by-step | 292 | |
Style | 294 | |
Teaching acting | 296 | |
Technical and dress rehearsals | 298 | |
Technique | 300 | |
Ten-second rule | 302 | |
Text | 304 | |
The team | 308 | |
Thinking | 311 | |
Training | 313 | |
Truth | 315 | |
Typecasting | 319 | |
University courses | 321 | |
Versatility | 323 | |
Voice | 325 | |
Whatever works | 327 | |
You (your other life) | 329 |
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