The Student Actor Prepares

Gai Jones

Description

The Student Actor Prepares is a practical, interactive approach to a student actor’s journey. Each chapter includes acting principles, their importance to the process, and workbook entries for emotional work, script analysis, and applications to the study of theater. Topics cover a brief history of the art of acting and how the study of acting can be an advantage in numerous occupations; an actor’s discovery of emotional work; movement and mime practices for the actor; vocal practices for the actor; solo improvisational study; script analysis for the individual actor; rehearsal tips; monologue work; original solo work; audition information; working with an acting partner or in a production; acting resources; and research topics. 

Prologue 

Creative (CI) and Reflective Inquiry (RI) Journey 

Brief History of Theatre Acting 

Theatre Vocabulary for the Acting Student: Top One Hundred and Sixty Essential Words 

Theatrical Humor 

Reading Plays 

Closure for The Student Actor Prepares: Acting for Life: Prologue

Chapter One: Introduction to Theatre Acting 

Unlimited Potential 

Skills Developed by the Acting Process 

Actor’s Personal Autobiography 

Natural Talents and Aptitudes 

Acknowledging your Uniqueness 

Positive New Experiences 

Dealing with Inhibitors 

Dealing with Negativism and Rejection in the Acting Biz 

Winning Attitudes 

Closure for Chapter One: Theatre Acting

Chapter Two: Creativity

Introduction to Creativity

Definition of Creativity 

Say Yes to Creativity 

Various Types of Creative Thinking: Brainstorming, Intuition, and Left Brain Right Brain 

Tips on How to Increase your Creativity

Experiences to Increase your Creativity 

Left Brain/Right Brain Experience 

Thinking Outside the Box 

How an Actor Benefits by Thinking Creatively

Using Both Left and Right Brain Thinking in Acting 

Closure for Chapter Two: Creativity 

Chapter Three: Movement 

Introduction to Movement 

Definition of Movement 

History of Movement Training 

Introduction to Relaxation for Movement 

The Bow

Video Recording as Part of your Rehearsal Process 

Preparation for Actor’s Character Stance and Movement 

Stage Stances and Movement 

Introduction to Mime Study for the Actor 

Closure for Chapter Three: Movement 

Chapter Four: Vocal Work 

Introduction to Vocal Work

Taking Care of your Voice 

Warm-Up for Vocal Experiences 

Vocal Vocabulary and Assignments 

Song Lyrics for Vocal Work 

Shakespeare for Vocal Interpretation 

Closure for Chapter Four: Vocal Work

Chapter Five: Improvisation 

Introduction to Improvisation 

Definition of Improvisation

History of Improvisation 

Why an Actor Studies Improvisation 

Vocabulary Used in the Study of Improvisation 

Difference between Giving a Speech and Solo Improvisation Performance

Difference between Ad Lib and Improvisation 

How an Actor Uses Improvisation

Basic Principles of Improvisation 

Warm-Ups for Improvisations 

Solo Improvisation 

Closure for Chapter Five: Improvisation 

Chapter Six: Acting and Script Study 

Introduction to Acting 

History of Acting: Mechanical to Method 

Master Acting Teachers 

Acting Vocabulary 

Reading and Analyzing a Script from an Actor’s Point of View 

Character Biography for a Monologue from a Play 

Closure for Chapter Six: Acting and Script Analysis 

Chapter Seven: Monologues 

Introduction to Monologues 

Definition of a Monologue 

History of the Monologue

Monologue Vocabulary

Why an Actor Studies Monologues 

The First Day: Monologue for Analysis and Staging 

Warming Up 

Keeping it Real and in the Moment—Not Indicating 

Staging 

Memorizing Monologues 

Musical Theatre Lyrics as Monologues

Sujets

• Performing Arts
• Sociologie, société et politique
• Película fotográfica
• Theatre
• Reference
• Film

Informations

• Publié par: Intellect Books
• Date de parution: 01 janvier 2014
• Nombre de lectures: 0
• EAN13: 9781783202607
• Langue: English

Extrait

THE STUDENT ACTOR PREPARES
THE STUDENT ACTOR PREPARES
ACTING FOR LIFE
GAI JONES
First published in the UK in 2014 by
Intellect, The Mill, Parnall Road, Fishponds, Bristol, BS16 3JG, UK
First published in the USA in 2014 by
Intellect, The University of Chicago Press, 1427 E. 60th Street,
Chicago, IL 60637, USA
Copyright © 2014 Intellect Ltd
All rights reserved. No part of this publication may be reproduced,stored in a retrieval system, or transmitted, in any form or byany means, electronic, mechanical, photocopying, recording, orotherwise, without written permission.
A catalogue record for this book is available from theBritish Library.
Series: Theatre in Education
Series ISSN: 2049-3878
Cover designer: Holly Rose
Copy-editor: MPS Technologies
Production manager: Jessica Mitchell
Typesetting: Holly Rose
Print ISBN: 9781783201907
ePDF ISBN: 9781783202591
ePUB ISBN: 9781783202607
CONTENTS
Preface to Teachers: Using this Book to Instruct Students
Preface to Student Actors: Using this Book
Prologue
Creative (CI) and Reflective Inquiry (RI) Journey
Brief History of Theatre Acting
Theatre Vocabulary for the Acting Student: Top One Hundred and Sixty Essential Words
Theatrical Humor
Reading Plays
Closure for The Student Actor Prepares: Acting for Life: Prologue
Chapter One: Introduction to Theatre Acting
Unlimited Potential
Skills Developed by the Acting Process
Actor’s Personal Autobiography
Natural Talents and Aptitudes
Acknowledging your Uniqueness
Positive New Experiences
Dealing with Inhibitors
Dealing with Negativism and Rejection in the Acting Biz
Winning Attitudes
Closure for Chapter One: Theatre Acting
Chapter Two: Creativity
Introduction to Creativity
Definition of Creativity
Say Yes to Creativity
Various Types of Creative Thinking: Brainstorming, Intuition, and Left Brain-Right Brain
Tips on How to Increase your Creativity
Experiences to Increase your Creativity
Left Brain/Right Brain Experience
Thinking Outside the Box
How an Actor Benefits by Thinking Creatively
Using Both Left and Right Brain Thinking in Acting
Closure for Chapter Two: Creativity
Chapter Three: Movement
Introduction to Movement
Definition of Movement
History of Movement Training
Introduction to Relaxation for Movement
The Bow
Video Recording as Part of your Rehearsal Process
Preparation for Actor’s Character Stance and Movement
Stage Stances and Movement
Introduction to Mime Study for the Actor
Closure for Chapter Three: Movement
Chapter Four: Vocal Work
Introduction to Vocal Work
Taking Care of your Voice
Warm-Up for Vocal Experiences
Vocal Vocabulary and Assignments
Song Lyrics for Vocal Work
Shakespeare for Vocal Interpretation
Closure for Chapter Four: Vocal Work
Chapter Five: Improvisation
Introduction to Improvisation
Definition of Improvisation
History of Improvisation
Why an Actor Studies Improvisation
Vocabulary Used in the Study of Improvisation
Difference between Giving a Speech and Solo Improvisation Performance
Difference between Ad Lib and Improvisation
How an Actor Uses Improvisation
Basic Principles of Improvisation
Warm-Ups for Improvisations
Solo Improvisation
Closure for Chapter Five: Improvisation
Chapter Six: Acting and Script Study
Introduction to Acting
History of Acting: Mechanical to Method
Master Acting Teachers
Acting Vocabulary
Reading and Analyzing a Script from an Actor’s Point of View
Character Biography for a Monologue from a Play
Closure for Chapter Six: Acting and Script Analysis
Chapter Seven: Monologues
Introduction to Monologues
Definition of a Monologue
History of the Monologue
Monologue Vocabulary
Why an Actor Studies Monologues
The First Day : Monologue for Analysis and Staging
Warming Up
Keeping it Real and in the Moment—Not Indicating
Staging
Memorizing Monologues
Musical Theatre Lyrics as Monologues
Solo Actor as a Playwright
Closure for Chapter Seven: Monologues
Chapter Eight: Auditions
Introduction to Auditions
Definition of an Audition
Positive Attitude about the Audition Process
Before you go to Auditions
Guidelines for Auditions
The Perfect Audition Monologues
Royalties
Audition Professionalism
Unprofessionalism at an Audition
After an Audition
Audiences
Closure for Chapter Eight: Auditions
Epilogue: Afterword
Introduction to the Epilogue
Advice for your Future
Acting Goals Reassessment
Advocacy
Ensemble Acting Member
Continuing your Acting Study
Careers
Acronyms for Unions and Associations
Acting in Later Life
Acting for Life: A Story about a Life-long Acting Learner
My Final Words of Advice—Discover Ways to Compliment Others and Say Thank You
Index
PREFACE TO TEACHERS: USING THIS BOOK TO INSTRUCT STUDENTS
Education is not preparation for life. Education is life itself .
John Dewey, educational reformer
This Preface is dedicated to teachers who will guide students through The Student Actor Prepares: Acting for Life. As a Theatre education professional, I have one of the best jobs, working with creative, emotional, passionate, talented students and other Theatre experts every day. I trust the transformative empowerment of Theatre education and acting in particular. Studying acting engages students in learning and prepares them with skills for work success. Sometimes being in Theatre is the reason students come to school and stay in school. Often, involvement in Theatre education transforms students’ lives, and sometimes it saves their lives.
I admire Theatre educators, who inspire students through the art form of Theatre. I believe in sequential standards-based Theatre education taught by credentialed Theatre teachers. I believe in working with Theatre arts providers who help the classroom Theatre educator, by supplementing existing Theatre programs. I believe in awards and scholarship recognitions for Theatre educators and students. I believe in teaching students about careers, twenty-first century life skills, and national standards. I believe in a network of Theatre educators, professionals, and students who share ideas for creativity, critical thinking, collaboration, and communication in Theatre education.
A teacher is an actor. To desire to teach, a person must have been enthralled by an idea or an experience of some kind himself and must desire that others have the opportunity to know about and be inspired by that same event or material in some way. To be able to transfer ideas, he must develop, in addition to the knowledge he accumulates, the ability to communicate that knowledge. This ability to communicate is an art or skill also known as teaching. . .
A Teacher Is Many Things, Earl v. Pullias and James D. Young
The Student Actor Prepares: Acting for Life is designed for use in middle school and high school Theatre classes with your guidance as the Theatre educator. It can be used by some high school, college and university Theatre students as an instruction book for individual learning. Either way, its content can be enhanced with your guidance. The book’s tools and tips can be implemented for practical application as well as creative input. As a teacher, you can help each student learn how to reflect on his/her ideas and communicate the creative process. The involved student will construct meanings and will value their creative thinking. Your students will benefit from your inclusion in their learning processes. Your inviting student opinions, thoughts, and feelings encourages participation, stimulates discussion, and maintains a positive atmosphere for continuous creative and reflective work. The book is written for sequential learning with building blocks toward your students’ life-long journeys. Each chapter or unit is a complete study in itself. Whether you as the educator are teaching with electronic media or old-school paper and pencil, the book’s content is formatted for the student’s success by posing achievable, continuing goals and objectives.
The acting practice is creative and reflective in nature so it seems natural for this book to introduce imaginative and thoughtful review methods. This book provides ongoing inquiries for the student’s input. Creative inquiry asks for imaginative investigation and response. Reflective inquiry asks that the student think about the content of the book or remember something from his/her life to answer the questions. Sometimes the questions require that the student refer back to previous chapters to ascertain the answers. Referring to the text is an integral part of an actor’s work. This book provides opportunities for the emerging actor’s original and insightful inquiry.
The material is constructed for continuous study and the revisiting of topics, so as the student’s learning matures, he/she can give additional insights. I hope that you will devise more questions to stimulate student thinking, and you will take time to allow the student to field any questions for further study. This book is an opportunity for the student’s ongoing exploration.
The information presented in this book supports many of the anchor standards and principles of the present educational trends and movements. The standards define what students should understand and be able to do by the end of each acting unit. Big ideas with Enduring Understandings, Essential Questions, Twenty-first Century Skills of creative and critical thinking, along with assessments of the students’ work are inherent in this book, which is meant to be a projects-based experience. At the beginning of each learning unit, intellectual stimulations direct the students to imagine, investigate, construct, and reflect with clear goals and objectives. Each instructional unit identifies the enduring understandings and essential questions.
The Enduring Understandings are defined as statements that summarize important ideas central to the sub