Acting Characters: 16 Simple Steps From Rehearsal to - download pdf or read online

By Paul Elsam

ISBN-10: 0713675861

ISBN-13: 9780713675863

This a easy, no-nonsense advisor to studying, making plans and appearing extra fair and reasonable characters on level. It describes sixteen simply steps designed to simplify Stanislavski's teachings, with sensible workouts to enhance process. The booklet considers key parts of conversation and the features of human habit, and indicates how one can harness those habit kinds to sharpen talents and understanding by using physique, voice and speech. a personality Profile Sheet is helping you intend your personality as you increase your examine. Boxed sections introduce new theories and ideas at a transparent, introductory point.

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Additional info for Acting Characters: 16 Simple Steps From Rehearsal to Performance

Example text

The most obvious way to use verbal status to claim top spot on the seesaw is to insult someone horribly, and sound as if you really mean it. The more unpleasant the image you can create in people’s minds, the lower you’re forcing the person being insulted. Helena and Hermia’s furious barrage of insults aimed at one another’s height in Shakespeare’s A Midsummer Night’s 24 01ACharacters 1/2/06 11:45 am Page 25 planning to act Dream, stands as a good example. I’ve marked the verbal status insults in bold; as you’ll see, the seesaw hammers up and down as speedily as the audience can follow it: HELENA … What, will you tear impatient answers from my gentle tongue?

The play ends with this private exchange between Crichton and Lady Mary: LADY MARY Do you despise me, Crichton? ) You are the best man among us. CRICHTON On an island, my lady, perhaps; but in England, no. 23 01ACharacters 1/2/06 11:45 am Page 24 acting characters LADY MARY Then there’s something wrong with England. CRICHTON My lady, not even from you can I listen to a word against England. LADY MARY Tell me one thing: you have not lost your courage? CRICHTON No, my lady. (She goes. ) So ends one of the greatest social-status ‘switch’ comedies of all time – with a warning, perhaps, to the audience of the time to look to their own conscience.

Lyons. Russell uses the narrative of his musical play to argue persuasively that if we use our various powers to treat people in radically different ways – praising one while chastising the other, favouring one while disadvantaging the other, and so on – then we are, each of us, complicit in influencing the way people turn out. 40 01ACharacters 1/2/06 11:45 am Page 41 planning to act Acting tips Once you’re aware of the importance of different types of power, you can start to use that knowledge to sharpen your sensitivity onstage.

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Acting Characters: 16 Simple Steps From Rehearsal to Performance by Paul Elsam


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