دانلود کتاب Michael Chekhov’s Acting Technique: A Practitioner’s Guide

فهرست مطالب :

Title Page\nCopyright Page\nContents\nPreface\nAcknowledgements\nList of Abbreviations\nIntroduction: Guiding Principles\n Creative individuality\n The higher ego or self\n Four reasons to develop the higher ego\n Divided or dual consciousness\nA Note on the Context of Chekhov’s work\n Imperial Russia\n The Russian revolution\n Post-Revolutionary theatre\n New theatrical forms\n The Stalin years and socialist realism\n Chekhov in exile and Chekhov Theatre Studio\n Publications\nPart One: Preparation\n Chapter 1: The Ideal Centre\n Clearing a space\n The ideal\n Location of the centre\n Presence\n Chapter 2: The First of the Four Brothers: Feeling of Ease\n Physical ease\n Emotional ease\n Application of ease\n Ease as a foundation\n Chapter 3: Receiving\n Transition and the changeover\n Receptivity and embodied listening\n Concentration\n Chapter 4: The Second of the Four Brothers: Feeling of Form\n Form as characterization\n Form as composition of the actor: Blocking\n Form as composition of the production: Style\n Chapter 5: The Third of the Four Brothers: Feeling of Beauty\n Beauty and aesthetics\n Beauty and character\n The character’s palace of beauty\n Chapter 6: The Fourth of the Four Brothers: Feeling of Entirety\n Triplicity\n Polarity\n Flying over the play\n Entirety of the role\n Working within the whole\n Chapter 7: Radiating\n Radiating as a quality\n Radiating as projecting or sending\n Sustaining and the pause\n Chapter 8: Expansion and Contraction: Expansion as a principle\n Expansion as empathy\n Expansion and contraction as psychophysical tools\n Polarity of the gestures\n Development of the gestures\nPart Two: Practice\n Chapter 9: Qualities of Movement: Moulding, Floating, Flying\n Quality of moulding\n Quality of flowing or supporting\n Quality of flying\n Chapter 10: Further Qualities of Movement\n Staccato and legato\n Emotional adverbs\n Curved and straight sensation\n Large and small steps\n Chapter 11: Six Directions\n Forward direction\n Backspace or backward direction\n Upward direction\n Downward direction\n Right and left directions\n Combining directions\n Chapter 12: Archetypal Gesture\n The form of the gesture\n The basic set of archetypal gestures\n Direction and quality\n Archetypal gesture and other forms\n Chapter 13: The Three Sisters: Rising, Falling and Balancing\n Rising\n Falling\n Balancing\n Chapter 14: Image and Imagination\n Four stages in training the imagination\n Thinking in images\n Imagination in the actor’s process\n Imagination in the rehearsal process\n Autonomy of the imagination\n Autonomy of the actor\n Chapter 15: Improvisation\n Inspiration\n Transition: Transformation\n Transformation as a law of composition\n Transformation as a practice\n Chekhov’s transformations\nPart Three: Performance\n Chapter 16: Imaginary Body\n Psychological resonance of the imaginary body\n Fantastic imaginary body\n The character in the given circumstances rather than the actor\n Finding the objective\n Collaborating with the image\n Merging with the image\n Chapter 17: Imaginary Centres\n Thinking, feeling, willing centres\n Interplay of the three centres\n Determining the character’s centre\n The centre in a specific partof the body\n An image in the centre\n Centre as a quality\n Multiple and shifting centres\n Chapter 18: Stick, Veil, Ball\n Stick\n Veil\n Ball\n Connection with imaginary body, imaginary centre and qualities of movement\n Chapter 19: Archetypes\n Gesture of the archetype\n Archetype as category\n Determining the archetype: Archetype lists\n Determining the archetype: Deeds done list\n Determining the archetype: Key moments, polarity, image\n Archetype and superobjective\n Embodying the archetype of other characters\n Chapter 20: Psychological Gesture\n Archetypal gesture, psychological gesture and gesture of the archetype\n Psychological gesture and superobjective\n Creating the PG from the archetype\n Creating the PG from specific archetypal gestures\n PG and scene objectives\n PG and acting gestures\n PG and specific objectives\n Chapter 21: Subjective Atmosphere\n Defining the character’s subjective atmosphere\n Creating a personal atmosphere\n Subjective atmospheres and playing moments\n Chapter 22: Objective Atmosphere\n Time, place, event\n Determining atmosphere\n Naming the atmosphere\n Heightened atmospheres\n Atmosphere and the senses\n Atmosphere and colour\n Multiple atmospheres\n Atmosphere in rehearsal\n Atmosphere and the audience\n Chapter 23: Extras\n The ghost exercise\n Character biography or time line\n Conclusion: Theatre of the Future\n Summary\n Collective practice\n Interdisciplinary practice\n Independent practice\n Chronology of Michael Chekhov’s Career\n References\n Index