By Terry Schreiber
I used to be a scholar of Terry's from 1992 to 2000 so this assessment will be just a little biased yet who cares. This booklet is a needs to learn for an individual who's heavily attracted to taking their appearing abilities to bigger degrees. In my very own own event i will be able to vouch for every thing that's taught during this booklet. I did each workout pointed out within the e-book less than Terry's own assistance and i've utilized the strategies and techniques in lots of expert situations. i've been a profesional actor who has labored on tv and picture in either big apple and Hollywood for with regards to 20 years now. If rigorously the workouts during this e-book will open up the internal existence that an actor must make characters and scenes come to shiny existence. i actually cannot say adequate good things approximately Terry. i believe he's a treasure within the acting/theatre international and i'm so thankful that he has written this booklet simply because I dwell in Hollywood now and having the ebook seems like he's correct there with me. thank you Terry! you're a real grasp!
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Additional info for Acting: Advanced Techniques for the Actor, Director, and Teacher
Never push an actor beyond what is comfortable for her. There probably is a good reason why she is struggling, and as the leader you must adjust your method and manner according to the experience or the actor. These people trust you as they dive into some of their most sensitive areas. You are their guide. Be responsible. The best way to keep the atmosphere safe for the actors is to first have a general awareness of each actor’s past and sensitivities. Set up a one-on-one meeting before holding the class or rehearsal.
First the actor straightens upward. The sensation is as if someone is lifting him up by a string at the top of his head. qxd 4/21/05 9:16 PM Page 16 • In one movement, the actor continues to lift up from the base of the spine, and then lets the weight of the head and torso carry the upper body toward the toes into a drop-over. The movement is like a puppet that is flopped forward with slack strings. • Once over, the actor shakes out gently through the pelvis, the spine and on up. The actor should never move the legs or shake hard.
This is when I use a “thermometer” metaphor—the mercury starts to drop down through the body as the actor releases tension in his body from the top down. • At this point, I bring the actor’s attention to his eyes. Flickering eyelids or tightly shut eyes indicate a lot of tension behind the eyes. I tell the actor to investigate whether he can still his mind (or “stop the brain-spin,” as one of my students calls it) and relax the eyes. Leave the mind behind. • Once the eyes have released their tension, it’s time to move down and relax the hinges of the jaw, and then the tongue.