By Charles McGaw, Kenneth L. Stilson, Larry D. Clark
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Additional info for Acting is Believing (tenth edition)
Let each actor give an honest reply to the question of what physical action he would undertake, how he would act (not feel, there should for heaven’s sake be no question of feelings at this point) in the given circumstances created by the playwright,” wrote Stanislavski in his book, Creating a Role. ” Your search for the given circumstances begins in the script, with a study of the dramatic elements of character, plot, place, and time. In most instances, the playwright uses these facts to tell you about your character.
Try to suppress all other thoughts, feelings, and sensations. If you feel your attention wandering, simply refocus on your breathing. , right leg, left leg, abdomen, chest, right arm, and left arm). Take your time. After you have completed this sequence, say the word “peace” as you inhale. As you exhale, say the word, “calm” aloud. Extend the pronunciation of the word so that it lasts the entire exhalation. ” Repeating these words as you breathe will help you concentrate. Now return to breathing without speaking.
Partner A moves while Partner B remains frozen. Partner A continues to move until Partner B interrupts him with her movement. Partner A freezes while Partner B moves. Partner B continues to move until Partner A interrupts her. This pattern continues until you are instructed to stop. Your movements should not be empty forms, but rather they should reﬂect your state of mind. C. Shaping/Reshaping Again, change partners, and determine Partner A and Partner B. A makes an abstract shape (like a statue).