No acting, please

Publication date 2002 Topics Acting, Acting -- Study and teaching, Method acting -- Study and teaching, Performing Arts, Schauspielkunst Publisher Los Angeles, Calif. : Ermor Enterprises : Distributed by S.C.B. Collection internetarchivebooks; inlibrary; printdisabled Contributor Internet Archive Language English Item Size 540.4M

174 pages : 23 cm

A collection of 125 acting exercises based on journal excerpts and dialogues from Mr. Morris' classes. These exercises teach the actor to systematically eliminate his or her instrumental obstacles--tensions, fears, inhibitions--and explore the "being" state, where the actor does no more and no less than what he or she feels. As the title indicates, many of the techniques herein address the actor's need to avoid falling into the traps of concept and presentational acting. There is also a complete chapter on sense memory--what it is, and how to practice it and apply it as an acting tool.--From publisher description

Being -- On being -- Taped excerpt from being exercise -- Being exercise critique -- From Joan's journal, 1970 -- Being in relation to scene work -- From Joan's journal, 1972 -- Different being states -- Being exercises -- Getting ready to get ready -- Tension: how it affects the actor -- From Joan's journal, Tuesday, April 4, 1972 -- Causes of tension -- The "actress" -- Dealing with tension -- The physical relaxers -- The involvement group -- Internal awareness -- External awareness -- Purposes of the farmer's market exercise -- Sensory awareness -- Getting to the deeper self -- Getting related to people on and off the stage -- The round exercises -- Two-people relationship exercise -- Common sensory acting -- Sense memory -- Application of sense memory -- About the sense memory exercise -- Sense memory checklist -- Marathon: sense memory round -- Finding your best time and place to work -- Sensory exploration and experimentation -- Working with meaningful objects -- Obligation and choice -- Using sense memory in scene work -- The rewards of sense memory -- Preparation -- "Methinks I hear a cannon" -- Misunderstanding preparation -- Begin by being -- Daily practice -- I. Instrumental preparations -- Dialogue on craft -- Dialog on vulnerability -- II. Preparations for relating to people, objects and places -- III. Preparations for doing the role -- From Joan's journal: using preparation on the job

Notes

cut-off text on some pages due to tight binding
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