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Acknowledgments | ||
Introduction | ||
I | Creating Reality | |
1 | Listen Up! | 1 |
2 | The Character and "I" | 4 |
3 | Chemical Reactions | 7 |
4 | Real-Life Characters | 11 |
5 | Stage Violence | 15 |
II | Existential and Emotional States | |
6 | Three Sheets to the Wind: Playing Drunk | 22 |
7 | Eeeek! Playing Fear | 25 |
8 | Playing Pain and Dying | 29 |
9 | Touch of Evil: Playing Villains | 32 |
10 | Playing Mentally Challenged | 35 |
11 | Aging Gracefully | 39 |
12 | Playing Children | 42 |
13 | Social Classes | 46 |
III | Acting With | |
14 | Animals | 51 |
15 | Musical Instruments | 55 |
16 | Monologues | 59 |
17 | Children | 63 |
18 | X-treme Makeup | 66 |
19 | Cigarettes | 70 |
IV | Acting In | |
20 | Farce | 74 |
21 | Docudrama | 78 |
22 | Shakespeare | 83 |
23 | Pinter | 89 |
24 | Moliere | 94 |
25 | Multiple Roles | 98 |
V | Tips on Techniques | |
26 | Script Analysis | 102 |
27 | Memorization | 107 |
28 | Shooting Out of Sequence | 113 |
29 | Here We Go Loop-de-Loop: Looping | 117 |
VI | The Actor's Psyche | |
30 | Sexual Nudity | 120 |
31 | Acting with the Enemy | 123 |
32 | Stage Preparation Rituals | 127 |
33 | Critical Thinking: Theirs | 130 |
34 | Critical Thinking: Yours | 133 |
35 | The Unbearable Neurosis of Acting | 138 |
Bibliography | 143 |
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