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Book Categories |
Acknowledgments | IV | |
How to Use This Guide | XII | |
Chapter 1 | Audition | 1 |
First Impressions | 4 | |
Preparation | 6 | |
What to Bring to the Audition | 7 | |
What to Wear | 7 | |
Confidence | 9 | |
Dealing with Nerves | 10 | |
Selecting Audition Material | 12 | |
Presenting Your Monologue | 14 | |
Reading from the Script | 17 | |
Callback Strategies | 18 | |
Commercials | 19 | |
Body Language | 20 | |
The Casting Couch | 22 | |
Handling a Request for Nudity | 22 | |
Voice Projection | 24 | |
Accents | 25 | |
Laughter | 25 | |
Kissing | 26 | |
Chapter 2 | Rehearsal | 27 |
Approaching the Script | 32 | |
Sticking to the Script | 34 | |
Stage Directions | 34 | |
Memorizing Lines | 35 | |
Working on Accents | 36 | |
Line Readings | 36 | |
Getting Along with the Other Actors | 37 | |
Rehearsal Dress | 37 | |
Props | 38 | |
Adrenaline | 39 | |
Rehearsing Fight Scenes | 39 | |
Playwrights | 40 | |
When the Playwright is Present | 42 | |
Directing | 42 | |
Getting in Touch With Your Inner Animal | 42 | |
Using the Other Characters' Lines | 43 | |
Playing Crazy | 43 | |
Playing a Racist | 44 | |
Playing a Suicidal Character | 44 | |
Playing a Child-like Character | 44 | |
Third-Person Perspective | 45 | |
Time Period | 45 | |
Religion | 45 | |
Smoking | 46 | |
Exposing the Character | 46 | |
Being Yourself | 47 | |
Imposing Yourself on Your Character | 48 | |
Respecting Your Character | 51 | |
Sexual Orientation | 52 | |
Using Your Experiences | 52 | |
Evolutionary Psychology | 53 | |
Playing Shakespeare | 54 | |
Masculine and Feminine | 55 | |
Chapter 3 | Playing the Scene | 57 |
Playing an Action | 59 | |
Raising the Stakes | 61 | |
Emotions | 62 | |
Anger | 64 | |
Emotional Experience | 65 | |
Acting with the Heart | 67 | |
Loss of Control | 68 | |
Being in the Moment | 69 | |
Beginning in the Middle | 70 | |
Justifying | 71 | |
Multitasking | 72 | |
Laughter | 72 | |
Comedy | 73 | |
Crying | 75 | |
Working with Opposites | 77 | |
The Audience | 77 | |
Getting Beneath the Literal | 80 | |
Relating to Your Scene Partner | 82 | |
Taking Risks | 85 | |
Creating Atmosphere | 87 | |
Substitution | 90 | |
Being Specific | 90 | |
Conflict | 93 | |
Negotiating | 95 | |
Projection | 95 | |
Voice | 96 | |
Body Language | 96 | |
Enjoying Yourself | 97 | |
Self-Monitoring | 98 | |
Switching Actions and Objectives | 98 | |
Indicating | 99 | |
Mistakes | 102 | |
Dealing with Reality | 102 | |
Opening Night | 104 | |
Acting While You're Sick | 104 | |
Sexual Situations | 104 | |
Eating on Stage | 105 | |
Alcohol | 106 | |
Playing Drunk | 107 | |
Smoking on Stage | 108 | |
Eye Contact | 108 | |
Lying | 108 | |
Conveying Need | 109 | |
Kissing | 109 | |
Breakup Scene | 110 | |
Negotiating Status | 111 | |
Acting with Your Body | 111 | |
Portraying Anxiety | 112 | |
Nudity | 112 | |
Further Thoughts | 112 | |
Chapter 4 | Acting in Film | 115 |
Stepping into the Shot | 117 | |
Crossing to Your Mark | 117 | |
Continuity | 118 | |
Close-ups | 119 | |
Fitting into the Frame of the Shot | 121 | |
Sound | 122 | |
Tracking Shots | 123 | |
Steadicam | 123 | |
Starting and Stopping | 124 | |
Reactions | 124 | |
The Cinematographer | 126 | |
Role Models | 126 | |
Chapter 5 | Career Strategies | 127 |
Theatrical Publications | 131 | |
Performing Unions | 131 | |
Training | 132 | |
Photos | 133 | |
Resume | 135 | |
Talent Agents | 137 | |
Residuals | 139 | |
Working with a Bad Script | 139 | |
Role Models | 140 | |
Cutting Class | 141 | |
Finding Your "Type" | 141 | |
Commercials | 142 | |
Internet Databases | 143 | |
Casting Director Workshops | 143 | |
Modeling Conventions | 144 | |
Hollywood | 144 | |
New York | 145 | |
Chicago | 145 | |
Getting Along with Others | 145 | |
Community Theater | 146 | |
Casting Calls | 147 | |
Appearance | 148 | |
Dealing with Rejection | 149 | |
Breaking the Rules | 150 | |
Selling Yourself | 150 | |
Making Ends Meet | 151 | |
Voice-overs | 152 | |
Working in Cartoons | 153 | |
Turning Down a Role | 153 | |
Reality Shows | 154 | |
Having Opinions | 154 | |
Right-to-Work Laws | 155 | |
Character Actors | 156 | |
English as a Second Language | 156 | |
Bad Reviews | 157 | |
Beta Blockers | 157 | |
Getting Fired | 157 | |
Quitting | 158 | |
Further Reading | 159 | |
Index | 166 | |
About the Author | 178 |
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Add Actor's Field Guide: Notes on the Run, From a veteran actor, teacher, and author, here is a quick-reference guide aimed at working actors. Got a funny scene that doesn't seem very funny? Look up comedy. Got a scene in which you're supposed to cry? Look up cry. Each entry includes a brief i, Actor's Field Guide: Notes on the Run to the inventory that you are selling on WonderClubX
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Add Actor's Field Guide: Notes on the Run, From a veteran actor, teacher, and author, here is a quick-reference guide aimed at working actors. Got a funny scene that doesn't seem very funny? Look up comedy. Got a scene in which you're supposed to cry? Look up cry. Each entry includes a brief i, Actor's Field Guide: Notes on the Run to your collection on WonderClub |