The Art of Film Acting: A Guide For Actors and DirectorsTaylor & Francis, 2.10.2012 г. - 290 страници This guide for actors and directors develops a valid method for training performers to act from their core--whether they are cold reading, auditioning, or performing for film or television. This book teaches actors how to achieve and respond to believable and honest emotions before the camera, and it maintains that the key to a successful performance lies in how the actors relate to one another and to the circumstances. Exercises, including script examples, throughout the book give readers an easy resource for practicing the principles outlined. |
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... created line readings and made his performance unbelievable. He looked like an actor covering up his insecurity with overacting. Preparing. for. a. Role. For a stage role, you spend a lot of days rehearsing everything you are going to have ...
... created by what you experience at the moment, which has little or nothing to do with words. Stage actors do not have the close-up to let audiences see their emotions as intimately as on film. On the stage, there is little subtext ...
... creating subtext. One example of how film director Mark Rydell blocks a scene to help the actors with subtext is in the film, On Golden Pond. To understand how this works, it is important that you view this film and watch this scene ...
... created and selected by the director. She, in effect, moves the audience closer to or farther away from the action in ... create wonderful film character roles in which they are not recognizable as their own personalities. Jon Voight is ...
... created for the character actor, the type of actor who would never be a leading man but who did an excellent job in a ... create a great character. It took Dustin Hoffman nine months to work on his character Dorothy for the movie Tootsie ...
Съдържание
1 | |
10 | |
3 Becoming a Great Actor | 28 |
4 Sight Reading | 42 |
5 The Art of Concentration | 48 |
6 The Art of Not Knowing | 68 |
7 More on the Art of Not Knowing | 81 |
8 Still More on the Art of Not Knowing | 100 |
12 Intimacy Empathy and Intuition | 167 |
13 The Audition | 187 |
14 More on the Audition | 209 |
15 The Comedy Audition | 233 |
16 Conclusion | 268 |
Afterword | 273 |
Bibliography | 276 |
Videography | 278 |
9 The Art of Acceptance | 117 |
10 The Art of Giving and Receiving | 131 |
11 The Senses | 148 |
Index | 283 |