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 43
... feet to touch each other so that your legs and feet form a diamond shape . Allow your spine to float into a vertical and upright position without slouching downward or reaching upward . Initiate a looping action by creasing and de ...
... feet to touch each other so that your legs and feet form a diamond shape . Allow your spine to float into a vertical and upright position without slouching downward or reaching upward . Initiate a looping action by creasing and de ...
Página 82
... feet should begin with a weight shift in your pelvis . □ The movement of your legs and feet is initiated and regulated by creasing and de - creasing your thigh sockets . ( This is similar to folding and unfolding a sheet of paper ...
... feet should begin with a weight shift in your pelvis . □ The movement of your legs and feet is initiated and regulated by creasing and de - creasing your thigh sockets . ( This is similar to folding and unfolding a sheet of paper ...
Página 86
... feet are making solid contact with the floor . Your feet should be about shoulder - width apart and as close to your pelvis as pos- sible without causing strain or discomfort . Don't let your knees collapse inward or fall outward ...
... feet are making solid contact with the floor . Your feet should be about shoulder - width apart and as close to your pelvis as pos- sible without causing strain or discomfort . Don't let your knees collapse inward or fall outward ...
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
acting activity actor Allow arms Basic Exercise become begin body breath carry character charge comfortable complete counts creasing created develop direction downward emotional Encourage energy example exercise expand experience explore expressive action fall feet Figure flexible floor flow forward function hands head human important improvisational initial integrated knees language learning legs lengthen light LOOPS lower manner middle mouth move movement muscles natural occurs organized outward pelvis performed person phrase physical properties pitch play position possible practice Progression prompt range receive release Repeat resonance Rest rib cage rolling rounding scale Select sensation sense sequence side SIGH simple space spine Step structure swing thigh sockets thought and feeling tion understanding upper upward verbs vocal voice vowel sound weight shift whole withdraw