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Book Categories |
Foreword | xvii | |
Audition Story | xix | |
Acknowledgments | xxi | |
Prologue | xxiii | |
Part 1 | Getting Out of Your Own Way | |
Chapter 1 | You Are Your Own Worst Enemy | |
Audition Story | 4 | |
Your Friend, The Casting Director | 6 | |
The Success/Failure Syndrome | 6 | |
It's a Numbers Game | 9 | |
It's Out of Your Control | 11 | |
Commitment, Commitment, Commitment | 11 | |
Chapter 2 | How You Present Yourself | |
Audition Story | 14 | |
First Impressions | 16 | |
Should You Enter as the Character or as Yourself? | 17 | |
Audition Story | 19 | |
Photographs (Head Shots) | 19 | |
Resumes | 20 | |
Resume Layout | 22 | |
The Big Taboo--Don't Touch The Casting Director! | 23 | |
It's Never How You Expect It To Be | 23 | |
Use What You're Not Given | 24 | |
Stop Apologizing for Yourself | 25 | |
Coming From the Character's Point of View (POV) | 25 | |
The Actor's Barometer | 27 | |
Chapter 3 | The Interview | |
Audition Story | 30 | |
Audition Story | 32 | |
The Interview | 33 | |
Taking in the Room | 34 | |
What They Really Want To Know | 34 | |
Audition Story | 40 | |
Chapter 4 | Guide to a Healthy Instrument | |
Audition Story | 44 | |
Audition Story | 46 | |
A Healthy Instrument | 47 | |
That Old Backpack | 49 | |
The Five Ego States | 49 | |
Turn Up the Volume! | 50 | |
Part 2 | Breaking Down the Scene | |
Chapter 1 | Relationship | |
Audition Story | 56 | |
Types of Relationships | 59 | |
Scene Excerpt--Thelma & Louise | 60 | |
Relationship Q&A | 62 | |
Changing Relationships | 64 | |
Scene Excerpt--Thelma & Louise | 64 | |
Relationship Contract--Hannah and Her Sisters | 66 | |
Scene Excerpt--Hannah and Her Sisters | 66 | |
Applying the Relationship Contract | 76 | |
Siblings: Where is Your Character in the Food Chain? | 77 | |
Love Relationships | 77 | |
Stages of a Love Relationship | 77 | |
Chapter 2 | Intention | |
Audition Story | 82 | |
Second Read-Through | 84 | |
Scene Excerpt--Thelma & Louise | 84 | |
Action Verbs | 86 | |
Opposing Adjectives | 87 | |
Physical Behavior | 88 | |
Obstacles | 88 | |
Types of Obstacles | 89 | |
Scene Excerpt--Julia | 91 | |
Adjustments | 95 | |
Scene Excerpt--The Silence of the Lambs | 96 | |
Key Phrase | 104 | |
Chapter 3 | History | |
Audition Story | 108 | |
Creating the Past | 111 | |
Scene Excerpt--The Goodbye Girl | 112 | |
Different Histories | 114 | |
Scene Excerpt--In the Line of Fire | 116 | |
Chapter 4 | Personalization | |
Audition Story | 120 | |
Personalizing Thoughts and Feelings | 122 | |
Senses and Imagery | 122 | |
Blood and Guts | 123 | |
Stanislavski's Magical "As If" | 124 | |
Substitution | 125 | |
Scene Excerpt--Thelma & Louise | 127 | |
Chapter 5 | V.I.P.S. | |
Audition Story | 130 | |
Scene Excerpt--Beaches | 134 | |
Scene Excerpt--Beaches | 139 | |
Chapter 6 | Opening Beat | |
Audition Story | 146 | |
The Five "W's" | 149 | |
Where Am I? | 149 | |
When Does the Opening Beat Take Place? | 150 | |
Scene Excerpt--Kramer vs. Kramer | 150 | |
Who Else Is in the Environment? | 151 | |
What Am I Feeling? | 152 | |
What Is My Physical Action? | 153 | |
Scene Excerpt--Thelma & Louise | 155 | |
"Help, I'm Next!" | 157 | |
Chapter 7 | Units and Transitions | |
Audition Story | 160 | |
Scene Excerpt--Thelma & Louise | 164 | |
Scene Excerpt--The Prisoner of Second Avenue | 165 | |
Baby Beats | 171 | |
Adjustments | 172 | |
Scene Excerpt--The Goodbye Girl | 173 | |
Closing Beats | 176 | |
Chapter 8 | Core and Masking | |
Audition Story | 180 | |
Layers of Core and Masking | 182 | |
Period Pieces | 183 | |
Masking With Anger | 184 | |
Masking With Indifference | 185 | |
Masking With Humor | 185 | |
The Vulnerable Moment | 186 | |
Scene Excerpt--Thelma & Louise | 187 | |
Scene Excerpt--Ordinary People | 189 | |
Chapter 9 | Sense of Humor | |
Audition Story | 202 | |
Personality | 204 | |
Breaking the Stereotypes | 205 | |
Humor vs. Lightness | 206 | |
Action/Adventure Films | 206 | |
Buddy Films | 207 | |
Scene Excerpt--Thelma & Louise | 207 | |
Likability | 209 | |
Daytime Dramas (Soaps) | 209 | |
Chapter 10 | Moment to Moment | |
Audition Story | 214 | |
Tennis, Anyone? | 216 | |
The Coverup | 217 | |
Mistakes Are Your Friends | 217 | |
Crazy Things That Throw You | 218 | |
Audition Story | 218 | |
Audition Story | 218 | |
Audition Story | 219 | |
Audition Story | 219 | |
Audition Story | 221 | |
Audition Story | 221 | |
Audition Story | 222 | |
The Callback Syndrome | 223 | |
Making Adjustments | 224 | |
Chapter 11 | Sample Scene Breakdown | |
Audition Story | 228 | |
Meeting Gene Hackman | 230 | |
Scene Excerpt--I Never Sang for My Father | 231 | |
First Read | 234 | |
Second Read | 236 | |
Third Read | 242 | |
Scene Excerpt--I Never Sang for My Father | 243 | |
Part 3 | The Haber Phrase Technique | |
Chapter 1 | Reading in Phrases | |
Audition Story | 252 | |
The Trap of Memorizing | 254 | |
Developing the Phrase Technique | 256 | |
The Haber Phrase Technique | 256 | |
Putting the Technique into Practice-- L.A. Law Closing Argument | 257 | |
Scene Excerpt--L.A. Law | 258 | |
Put your Thumb into Action | 259 | |
"That Darn Paper" | 259 | |
Commonly Asked Questions Regarding the Technique | 261 | |
Chapter 2 | Using the Haber Phrase Technique in a Scene | |
Audition Story | 264 | |
Audition Story | 266 | |
There's No Such Thing as a Monologue | 266 | |
Working with a Partner | 267 | |
Landings | 267 | |
Resolutions | 268 | |
Comedy Resolutions | 268 | |
Scene Excerpt--Thieves | 268 | |
When Do You Get Your Next Line? | 269 | |
Scene Excerpt--I Never Sang for My Father | 269 | |
When to Turn the Page | 270 | |
Repetitive Phrases | 270 | |
Eye-Staring Contest | 271 | |
Throw It Away! | 271 | |
Joining Sentences | 272 | |
Putting It Together--I Never Sang for My Father | 272 | |
Scene Excerpt--I Never Sang for My Father | 273 | |
Don't Lose Your Life! | 274 | |
Silence is Golden | 275 | |
The State of Confusion | 276 | |
Part 4 | Words from the Pros | |
Chapter 1 | Meet the Pros Seminar | |
Audition Story | 284 | |
Chapter 2 | Do's and Don'ts | |
Audition Story | 308 | |
Pictures and Resumes | 311 | |
Agents and Managers | 311 | |
Getting in the Door | 311 | |
Preparation | 311 | |
The Audition | 312 | |
Callbacks | 313 | |
Screen Tests | 313 | |
Feedback | 313 | |
Afterword: An Interview with ED Asner | 316 | |
Epilogue | 325 | |
About the Authors | 332 |
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Add How to Get the Part . . . without Falling Apart!; Featuring the Haber Phrase Technique for Actors, Haber encourages and leads the reader through the audition process with helpful, humorous examples. Includes script excerpts, celebrity pictures and personal testimonies from today's hottest stars., How to Get the Part . . . without Falling Apart!; Featuring the Haber Phrase Technique for Actors to the inventory that you are selling on WonderClubX
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Add How to Get the Part . . . without Falling Apart!; Featuring the Haber Phrase Technique for Actors, Haber encourages and leads the reader through the audition process with helpful, humorous examples. Includes script excerpts, celebrity pictures and personal testimonies from today's hottest stars., How to Get the Part . . . without Falling Apart!; Featuring the Haber Phrase Technique for Actors to your collection on WonderClub |