1. Chapter 7 The Art of Acting

2. Shakespeare On Acting “All the world’s a stage / And all the men and women merely players.” --As You Like It Walter McBride/Corbi

3. Training to be an Actor The Body Dance Dance Martial arts Martial arts Fencing Fencing Stage combat Stage combat Circus techniques Circus techniques Yoga Yoga Tai Chi Tai Chi

4. Training the Actor The Voice Breathing techniques Breathing techniques Vocal technique in pitch, volume and resonance Vocal technique in pitch, volume and resonance Dialects Dialects International Phonetic Alphabet International Phonetic Alphabet Singing Singing

5. Training the Actor The Mind Memorization skills Memorization skills Engaging with the imagination Engaging with the imagination Levels of empathy Levels of empathy Keen awareness of surroundings and others Keen awareness of surroundings and others Ability to analyze and synthesize information quickly Ability to analyze and synthesize information quickly

6. Konstantin Stanislavsky 1863 - 1938 “ “An actor lives, weeps, laughs on the stage, but as he weeps and laughs he observes his own tears ” and mirth. It is this double existence, this balance between life and acting that makes for art.” Stanislavsky --Konstantin Stanislavsky Bettmann/Corbis

7. Tadashi Suzuki Suzuki’s training embodies the stamina and concentration of traditional Japanese theatre. This rigorous training is designed to temper and shape the body so the actor can bring to the stage a “brilliant liveliness” that takes into account the “tiniest details of movement.” Wu Ching-teng/Xinhua Press/Corbis

8. Acting Techniques We Can All Use Changing How You Feel Changing How You Feel Outside/in Inside/out Technical approach Emotional memory Emmanuel Faure/Stone/Getty Images

9. Acting Techniques We Can All Use Empathy Empathy Magic if Magic if Substitution Substitution © 1987 Ron Scherl/StageImage/The Image Works

10. Understanding a Character Given circumstances Their particular situation Their specific problems Their limitations Their hopes Superobjective What is this character’s main driving force? What does he or she want? What is the most important thing to this character?

11. Understanding a Character Public Image and Personal Image Michal Daniel/Proofsheet

12. Understanding a Character Inner conflict Inner conflict Character flaw Character flaw Motivation Motivation Thinking in positives Thinking in positives Michal Daniel/Proofsheet

13. The Actor’s Life Actors’ Equity Association Actors’ Equity Association Screen Actors Guild Screen Actors Guild American Federation of Television and Radio Artists American Federation of Television and Radio Artists

14. Auditions Open call – “cattle call”Open call – “cattle call” Cold ReadingsCold Readings ImprovisationsImprovisations Callback listCallback list Getty Images

15. Rehearsal to Performance Table work Table work Blocking rehearsals Blocking rehearsals General working rehearsals General working rehearsals Special rehearsals Special rehearsals Off-book rehearsals Off-book rehearsals Run-throughs Run-throughs Tech rehearsals Tech rehearsals Dress rehearsals Dress rehearsals Preview Preview Performance Performance Brian Seed

16. Curtain Call “Actors are responsible to the people we play. I don’t label or judge. I just play them as honestly and expressively and creatively as I can, in the hope that people who ordinarily turn their heads in disgust instead think, ‘What I thought I’d feel about that guy, I don’t totally feel right now.’” Philip Seymour Hoffman, actor “ “Acting is simply my way of investigating human nature and having fun at the same time. Meryl Streep, actor