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Focal Press Objectives, Obstacles, and Tactics in Practice: Perspectives on Activating the Actor

BH #FOOOTIPATA • MFR #9781138335974
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Focal Press Objectives, Obstacles, and Tactics in Practice: Perspectives on Activating the Actor
Key Features
  • Editor: Hillary Haft Bucs
  • Editor: Valerie Clayman Pye
  • Softcover, 282 Pages
  • 7 B&W Illustrations
Objectives, Obstacles, and Tactics in Practice: Perspectives on Activating the Actor from Focal Press is the first book that compiles practical approaches of the best practices from a range of practitioners on the subject of working with Stanislavski's objectives, obstacles, and tactics. The book offers instructors and directors a variety of tools from leading acting teachers, who bring their own individual perspectives to the challenge of working with Stanislavski's principles for today's actors, in one volume. Each essay addresses its own theoretical and practical approach and offers concrete instructions for implementing new explorations both in the classroom and in the rehearsal studio.
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Focal Press 9781138335974 Overview

Objectives, Obstacles, and Tactics in Practice: Perspectives on Activating the Actor from Focal Press is the first book that compiles practical approaches of the best practices from a range of practitioners on the subject of working with Stanislavski's objectives, obstacles, and tactics. The book offers instructors and directors a variety of tools from leading acting teachers, who bring their own individual perspectives to the challenge of working with Stanislavski's principles for today's actors, in one volume. Each essay addresses its own theoretical and practical approach and offers concrete instructions for implementing new explorations both in the classroom and in the rehearsal studio.

An excellent resource for acting and directing instructors at the university level, directing and theatre pedagogy students, high school/secondary theatre teachers, and community theatre leaders, Objectives, Obstacles, and Tactics in Practice serves as a resource for lesson planning and exploration, and provides an encyclopedia of the best practices in the field today.

Table of Contents
  • ACKNOWLEDGMENTS
  • Introduction
  • PART I Playing Objectives
  • Chapter 1. Money in Your Pocket: Meisner, Objectives, and the First Six Lines
  • DENNIS SCHEBETTA
  • Chapter 2. Psychological Gesture: Michael Chekhov Exercises on Physicalizing the Objective
  • ANJALEE DESHPANDE HUTCHINSON
  • Chapter 3. Making Sport of Objectives: Teaching through Student-Developed Physical Competition
  • JOHN KAUFMANN
  • Chapter 4. Structured Improvised Scenes
  • TIMOTHY JOHNSON
  • Chapter 5. Scoring the Un-Scorable
  • MARIA PORTER
  • Chapter 6. Creating a Physical Score in a Snap: Using Social Media to Appeal to the Smartphone Generation
  • TOM PACIO
  • PART II Overcoming Obstacles
  • Chapter 7. Engaging Obstacles
  • KEVIN HOFFMANN
  • Chapter 8. Active Obstacle Image Scoring
  • DAVID HUGO
  • Chapter 9. Resistance
  • JANET HAYATSHAHI
  • Chapter 10. Returning the Dress: Demonstrating Objectives, Obstacles, and Tactics
  • DAVIDA BLOOM
  • Chapter 11. Improvised Fantasies: Heightening Objectives and Obstacles in Scene Work
  • HILLARY HAFT BUCS
  • Chapter 12. Optimizing the Obstacle: Using Indicators of Csíkszentmihályi’s Flow to Help Select, Test,and Experience Stanislavski’s Obstacles
  • FABIO POLANCO AND DIANE BONFIGLIO
  • PART III Identifying Tactics
  • Chapter 13. The Tag-tic that Works
  • LYNN DEBOECK
  • Chapter 14. Improvising Tactical Choices Based on Statusor “Who’s Driving the Dramatic Action Bus?”J
  • EAN DOBIE GIEBEL
  • Chapter 15. Transformational Tactics: Engaging Studentsin the Heroic Pursuit of Their Objective
  • KIM SHIVELY
  • Chapter 16. Hunter/Hunted: Experiential Learning and theActor’s Craft
  • VALERIE CLAYMAN PYE
  • Chapter 17. Tactics and Action Drives: StanislavskiMeets Laban
  • CONRAD ALEXANDROWICZ
  • Chapter 18. Stanislavski in the Voice Studio
  • DERIC MCNISH
  • Chapter 19. Stimulating Embodied Tactical Actions
  • LESLEY-ANN TIMLICK
  • Chapter 20. NRGs and the Nature of Action: The Lessac Tactic Circle
  • CAROLINE GOOD
  • Chapter 21. Relaying Action – from Breath to Text
  • AARON ALPERN AND REBECCA COVEY
  • Chapter 22. Using Improvisation to Identify Tactics
  • NATHAN STITH
  • Chapter 23. Activating the Actor with Game Theory: Using Gamification to Create Playable Tactics on Stage
  • JEANNE LEEPAFTERWORD
  • Chapter 24. Recording Truth: The Camera in Acting Training
  • WELKER WHITE
  • CONTRIBUTOR BIOGRAPHIES
  • CHAPTER ABSTRACTS
  • INDEX
About the Editors
Valerie Clayman Pye is an Assistant Professor of Theatre in the School of Performing Arts at LIU Post, where she teaches Acting, Voice, and Speech, and Shakespeare in Performance. She is the author of Unearthing Shakespeare: Embodied Performance and the Globe (Routledge 2017).

Hillary Haft Bucs is an actor/improviser, playwright, and director. She is an Associate Professor of Theatre at Western New England University where she teaches Acting, Improvisational Comedy, and Playwriting.

Focal Press 9781138335974 Specs

Publisher
Routledge
Publication Date
December 9, 2019
Guide
Author
Dennis Schebetta
Anjalee Deshpande Hutchinson
John Kaufman
Timothy Johnson
Maria Porter
Tom Pacio
Kevin Hoffman
David Hugo
Janet Hayatshahi
Davida Bloom
Hillary Haft Bucs
Fabio Polanco
Diane Bonfiglio
Lynn Deboeck
Jean Dobie Giebel
Kim Shively
Valerie Clayman Pye
conrad Alexandrowicz
Lesley-Ann Timlick
Caroline Good
Aaron Alpern
Rebecca Covey
Nathan Stith
Jeanne Leep
Welker White
Includes Images
Yes (B&W Only)
ISBN Number
9781138335974
Cover Type
Soft
Number of Pages
282

Focal Press 9781138335974 Reviews

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