The Expressive Actor: Integrated Voice, Movement, and Acting TrainingPearson Education, 2007 - 224 páginas The Expressive Actor is an innovative guide to training your body, mind, and spirit to deliver top-notch dramatic performances. Master teacher Michael Lugering's pioneering approach and smart exercises synthesize the traditionally disparate disciplines of acting, voice, and movement into one unified method by placing you in direct contact with the physical sensations that are responsible for expressing your body's deepest, richest thoughts and feelings. Lugering leads you through a series of voice and body exercises and a companion set of improvisational studies. His full-body actor's workout increases physical and vocal expressiveness by building the requisite dexterity, flexibility, strength, and freedom you need. Meanwhile the improvisations expand your emotional expressiveness by developing an awareness of and control over impulse, spontaneity, and creativity. The techniques in The Expressive Actor are repeatable, ideal for daily preparation, and can be practiced alone or with others to keep the voice and body ready for the demands of rehearsal and performance. Part inspiration and part perspiration, Lugering's technique is thoroughly researched and brings together recent discoveries in philosophy, somatic psychology, neuroscience, and aesthetics to create a powerful new way to train your voice, your body, and your feelings. Physical, intuitive, and fundamental, The Expressive Actor will plumb your body for the same kinds of energy and information that highly intellectualized actor-training methods of the twentieth century pull from the brain, then show you how to join them to create spectacularly human performances. Whether you act Shakespeare or Simon, Wycherley or Wasserstein, Moliere or Mamet, train the total actor inside you with the ideas and etudes in The Expressive Actor. You'll changeforever how you communicate with yourself, with other actors, and with your audience. |
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Página 21
... direction , while a desire to repress the thought and feeling pulls the body in an inward direction . The re- sult is a type of physical turmoil that reflects an individual literally pushing and pulling in two different directions ...
... direction , while a desire to repress the thought and feeling pulls the body in an inward direction . The re- sult is a type of physical turmoil that reflects an individual literally pushing and pulling in two different directions ...
Página 173
... direction . Since a shift in thought and feeling represents a corresponding shift in expressive action , each time you change direction you will ultimately be asked to change the ex- pressive action that you are playing . Step 3 Based ...
... direction . Since a shift in thought and feeling represents a corresponding shift in expressive action , each time you change direction you will ultimately be asked to change the ex- pressive action that you are playing . Step 3 Based ...
Página 175
... direction . Since a shift in thought and feeling represents a corresponding shift in expressive action , each time you change direction you will ultimately be asked to change the expressive action that you are playing . Step 3 Based on ...
... direction . Since a shift in thought and feeling represents a corresponding shift in expressive action , each time you change direction you will ultimately be asked to change the expressive action that you are playing . Step 3 Based on ...
Conteúdo
PRINCIPLES OF VOICE AND BODY | 30 |
VOICE AND BODY EXERCISES | 72 |
IMPROVISATION | 133 |
Direitos autorais | |
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The Expressive Actor: Integrated Voice, Movement and Acting Training Michael Lugering Visualização parcial - 2012 |
The Expressive Actor: Integrated Voice, Movement and Acting Training Michael Lugering Prévia não disponível - 2012 |
Termos e frases comuns
actor arms ARPEGGIO barre Basic Exercise body carrying breath to fall bridge exercise Carries the Breath carrying the sound character charge and release Charge-Body Carries clearly defined beginning comfortable consonants creasing and de-creasing created David Best direction downward eight-count phrase emotional energy Erick Hawkins explore expressive cycle flexible floor flow forward four-count phrase head improvisational integrated knees Kristin Linklater language leg swing legs and feet looping action lower breathing space lower resonating spaces lower voice middle voice move movement muscles musical scale outgoing breath outward palatal consonants pelvis periphery physical action physical properties play the expressive playable expressive action prompt Rest rib cage rocking action roll-up rolling Select sequence SIGH spine sss sound starting pitch thigh sockets thought and feeling TILT tion toss upper body upper voice upward verbs vocal folds vocal range voice and body vowel sound vowel space weight shift