On Acting: A Handbook for Today's Unique American Actor / Edition 1

by Steven Breese

Overview

To support a new generation of actors/acting teachers by coupling fresh ideas and new approaches with the best proven methods and practices. On Acting is written primarily for the contemporary American actor. It strives to address the acting process with an eye toward the performance culture and requirements that exist today. It is a book for the new twenty-first century artist—the serious practical artist who seeks to pursue a career that is both fulfilling and viable.

The text features a balance of philosophy, practical advice, anecdotal evidence/experiences and a wide variety of acting exercises/activities. Also included is the short Steven Breese play "Run. Run. Run Away" and an example of a scene score from that play.

Product Details

ISBN-13:	9781585104550
Publisher:	Hackett Publishing Company, Inc.
Publication date:	01/15/2013
Edition description:	First Edition
Pages:	268
Product dimensions:	5.90(w) x 8.90(h) x 0.70(d)

About the Author

Steven Breese has enjoyed a national and international acting, directing, and playwriting career that has spanned more than 30 years. He holds his MFA from California Institute of the Arts and spent most of his professional theatrical life in Chicago. A member of Actors Equity Association, Breese has acted and/or directed at many of the nation’s finest theaters including the Tony Award-winning South Coast Repertory Theatre, Dallas Theater Center, Cleveland Playhouse, Chanhassen Theaters, American Heartland Theatre, Forum Theatre (Chicago), The Royal George Theatre (Chicago), Watertower Theatre (Dallas), Shakespeare Festival of Dallas, Ft. Worth Shakespeare in the Park, The Operettenhaus (Hamburg, Germany), Virginia Stage Company, Virginia Shakespeare Festival, as well as many other regional theaters and touring companies.

As a playwright, Steven has completed over 40 plays including, The Trial of Hamlet (classical courtroom drama), Brotherly Love (contemporary love story), Doubletake (thriller), Wit’s End (mystery) and Actus Fideí (historical fiction). His newest play, Posing Nude is due to be completed spring in of 2013.

Steven began teaching his undergraduate acting and voice studios in 1992 in Dallas/Ft. Worth at TCU. His students have been accepted at some of the finest graduate schools and consistently work for theaters and film production companies across the country.

Currently serving as Dean of the College of Arts & Humanities at Christopher Newport University, Steven Breese has served as chairman of the Department of Theater & Dance, Director of TheaterCNU, director of two acting programs and Artistic Director of Tidewater Regional Repertory Theatre and Berea Summer Theater.

Table of Contents

Before We Get Started Forward

ACT I: THE ACTOR’S WORK

Lesson 1: On Being an Actor
a.    Since Stanislavski
•    Historical Perspective
•    Taking Ownership b.    Living Truthfully in Imaginary Circumstances
•    Characteristics and Meanings
•    Points of View
•    Interactions
•    Being Alive
•    Public Anxiety
•    Divide and Release c.    Thinking like an Actor
•    Shifting Into Reverse
•    Reflection, Curiosity and Aesthetic d.    Summary: Lesson 1
e.    Activities and Exercises: Journal

Lesson 2: On Beginning
a.    The Beginners Mind
•    Five Assumptions
•    The Necessity of Failure b.    The Naked Truth
•    Scene by Scene
•    Magic in the Making
•    Stuff that’s in Our Way c.    Zero
•    Finding Zero
•    Using Zero d.    “Just Say the Words”
e.    Summary: Lesson 2
f.    Activities and Exercises: Present Tense, Image and Text, Finding Zero

Lesson 3: On Action
a.    Making Human Beings b.    What Do You Want?
c.    Say It / Play It
•    Tactics
•    Actions
•    Common Playable Actions d.    Point of Impact
•    What is at Stake?
e.    The Action Cycle f.     “The Sensation of Acting”
g.    Summary: Lesson 3
h.    Activities and Exercises: Improving Action

Lesson 4: On Obstacle
a.    The Essential Struggle
•    Essential Elements b.    Without and Within
•    Those Without
•    Those Within c.    “About-Face the Fear”
d.    Summary Lesson 4
e.    Activities and Exercises: The Jump

Lesson 5: On Public Isolation (Solitude)
a.    Intimate Strangers b.    Concentration c.    Split Concentration d.    Summary: Lesson 5
e.    Activities and Exercises: Entrance/Exit

Lesson 6: On Judgment (and Risk)
a.    Just Do, Don’t Judge
•    Self-Censorship
•    Risk b.    It Should Cost You Something
•    Ready, Render, Reflect, Repeat c.    The Magic “AND”
d.     “The Best Day of the Year”
e.    Summary: Lesson 6
f.    Activities and Exercises: Sense Recalls

Lesson 7: On Intimacy
a.    The Morning After b.    The Sensuality of the Process
•    What We See
•    What We Hear
•    Inner Monologue
•    What We Smell and Taste
•    What We Touch c.    One Kiss, Many Parts
•    Relationship and Backstory
•    Obstacle and Risk
•    Mystery
•    Anticipation and 1000% Listening
•    Decision
•    Emotional Arc
•    Checking In d.    “Sterling Was Never the Same”
e.    Summary: Lesson 7
f.    Exercises: Sense and Sensation

Lesson 8: On Emotion
a.    Emotion and Acting
•    Using Emotion b.    Tying Emotion to Action c.    Vulnerability
•    Accepting Offers d.    Summary Lesson 8
e.    Activities and Exercises: Emotional Recalls

Lesson 9: On Repetition
a.    Do It 100 Times b.    Process of Building a Scene
•    Read-through
•    Memorize Lines / Own the Words
•    Five Scene Study Questions
•    Putting the Scene On its Feet
•    Stage Directions
•    The Four “Rs”
c.    Now Do it the First Time d.    Summary: Lesson 9
e.    Activities and Exercises for Lesson #9

Lesson 10: On Improvement
a.    The Big Secret
•    Breakthroughs and Little Steps
•    Stagnation and Patience b.    Are You Trying?
c.    “Much Ado About the Word”
d.    Summary: Lesson 10
e.    Exercises: Stop Trying

ACT II: THE ACTOR’S TOOLBOX

Lesson 11: On Script Analysis
a.    Dramatic Construction
•    Crisis b.    Getting Basic
•    What Is?
•    What Probably Is?
•    What Might, Could or May be?
•    What’s Missing?
•    What Do You Want Overall?
c.    Getting Specific
•    Scene’s Given Circumstances
•    What’s the Episode?
•    Starting in the Middle
•    Characters and Relationships
•    What’s New? Discoveries, Changes and Decisions
•    Change in Relationship
•    Change that Drive Decisions d.    Breaking Down the Scene
•    Beats and Beat Change
•    Dominate Tactics/Beats
•    Score the Scene e.    Putting it Together f.    Summary: Lesson 11
g.    Activities and Further Study

Lesson 12: On Movement
a.    Strength
•    Thoughts on Dance b.    Flexibility
•    The Spine
•    The Cat
•    The Serpent
•    The Question Mark
•    Rolling and Stacking
•    Rotation
•    Side (Obliques)
c.    Relaxation
•    The Center d.    Control
•    Specificity, Economy of Movement and Character Traits
•    Posture
•    Stylized Movement, Period Movement and Dance
•    Stage Violence and Combat e.    Freedom f.    Summary: Lesson 12
g.    Activities & Further Study

Lesson 13: On Stillness
a.    Vibrancy Inside b.    Internal Focus c.    Summary: Lesson 13
d.    Activities & Further Study

Lesson 14: On Voice and Speech
a.    Breath and Breathing b.    Releasing Sound c.    Pitch and Resonance d.    Language e.    Diction and Articulation
•    Voiced vs. Unvoiced
•    Stops, Fricatives, Approximates, Affricates and Laterals f.    Unity of Voice and Body g.    Shaping Language Onstage
•    Playing With Language
•    Practical Measures
•    Checklist to Assist Use of Voice and Text h.    A Few Notes on Singing i.    Summary: Lesson 14
j.    Activities & Further Study

Lesson 15: On Character
a.    Asking the Right Questions
•    What Did the Playwright, Write?
•    What is Required Physically?
•    Social, Educational and Economic Status
•    Psychological and Moral Outlook
•    Dominate Tactic(s)
•    Core Value(s)
b.    Ownership
•    Falling in Love c.    Character vs. Characteristics d.    Variety e.    Summary: Lesson 15
f.    Exercise: Fantasy Recalls

Lesson 16: On Stuff
a.    Stuff in Our Hands
•    Helping to Define Character
•    Hand Props as Stage Business
•    Creative Opportunities b.    Stuff on the Stage c.    Stuff We Wear
•    Research
•    Discussions
•    Wearing What, When?
•    How You Wear It d.    Summary: Lesson 16

Lesson 17: On Rehearsal
a.    First Rehearsal b.    The Actor’s Job
•    Blocking
•    Scene Work/Scene Rehearsals
•    Work-Through/Run-Through
•    Designer Run-Through
•    Technical rehearsals & Cue-To-Cue
•    Dress Rehearsals.
c.    Completion d.    Summary: Lesson 17

Lesson 18: On Vocabulary / Glossary of Terms

Lesson 19: On the Future

Appendix A: “Run. Run. Run Away.” A short play by Steven Breese Appendix B:   Scene score for “Run. Run. Run Away.”

Interviews

This text is designed for the first course in acting taught at the college level at all state colleges, and community colleges.

Editorial Reviews

“It's about time this rational, actor-centric, and systematic approach to acting theory was made widely available to the many young (and old) artists who haven't had the benefit of learning from Steven Breese directly.”
- Danny Devlin, Professional Actor/Former Student


"I believe I have already mentioned many of the strong points. Yes, I would definitely like to use this book in Acting II and maybe in Acting I.  It is a book that is similar enough to satisfy those professors who like a very traditional approach to training, yet different enough to add excitement to the training process with professional examples and great exercises."
- James R. Hartman, Schoolcraft College


"Strongest element is the exercises. Easy to follow and to visualize. I would recommend this text as supplemental reading."
- Bette Pettigrew, Johnson County Community College


"As an educator and director for the past 40+ years, I highly recommend On Acting. Steven's writing style is totally engaging, informative, and thought provoking. He speaks from experience and experiences, exemplified by personal anecdotes, classroom examples, asides, quotes, delightful humor and just the right amount of humility. It all works. No matter what your level of theatrical expertise, this book is for you."
- Catherine Davis, Professional Director & Educator


"I can already say that On Acting should be required reading for any actor or anyone who teaches acting. It is beautifully and interestingly written. It gives due reverence to the art and craft of acting without being pompous or pretentious. And a quick scan of the sections on process and technique tells me that following your "method" will turn out actors who really are 'actors'."
- Ron Reid, Professional Actor

From the Publisher