What is good acting? How does one create believable characters? How can an actor understand a character if they do not understand themselves? In The Science of Acting, Sam Kogan uses his theories on the relationship between neuroscience, psychology and acting to answer these questions. Practical exercises provide a step-by-step guide to developing an actor's ability, culminating in Ten Steps to Creating a Character. He presents the reader with a groundbreaking understanding of the subconscious and how it can be applied to their acting. The author’s highly original perspective on Stanislavski's teaching gives readers a unique insight into their character’s minds. Sam Kogan studied at the Moscow Institute of Theatre Arts (now the Russian Academy of Theatre Arts) under the tutelage of Professor Maria Knebel. He established The Science of Acting, a complete stand-alone technique. Helen Kogan is the chair and former principal of The Academy of Science of Acting and Directing, has helped to shape her father's words and work for the publication of this book.
The book also provides instruction for actors working in commercials—from slating, to the dreaded "tell us about yourself" interview, to nailing "the tag" and embracing the cliché—and supplies sample commercial copy for students to ...
Explores the historical and cultural evolution of the theoretical language of the stage
Lecoq's statement also links strongly to Lakoff and Johnson's work on neural modeling and the embodiment of mind. Lakoff and Johnson make a strong argument that “the same neural mechanisms used in perception and movement are also used ...
... in the manifesto of this 'Science of Behaviour', was to: 'Avoid mentalistic concepts such as sensation, perception and emotion, and employ only behavior concepts such as stimulus and response' (Woodworth and Sheehan 1964:113).
This is a compelling and original exploration of the limits of acting theory and practice, psychology, and creative work, in which Mirodan boldly re-examines some of the fundamental assumptions of actor training and some basic tenets of ...
1111 2 3 4 5 6 7 8 9 10111 11 2 3222 4 5 6 7 8 9 20111 1 2 3 4 522 6 7 8 9 30111 1 2 3 4 5 6 7 8 9 40111 11111 access; and metaphorical thought of which we are largely unaware” (Lakoff and Johnson 1999: 7). They hold that fundamental ...
"Most of us tend to think that there are two kinds of people in world: those who have power, and those who don't. But in reality, says Stanford Business School professor Deborah Gruenfeld, we all have more power than we think.
" "There is SO much valuable information in this book for actors with all levels of experience. I keep it with my audition materials and handy for inspiration. Read this book, re-read, and use it as a reference.
The book offers a unique view of how actors act out emotions and how this acting out is intimately linked to the development of contemporary theatre.
The uncertainty is complete . To remove uncertainty and bring about this common world in which those suffering from myopathy would find their place in a collective they have composed with others , the only solution is to embark on the ...