{"product_id":"acting-is-believing-stanislavski-in-the-21st-century-9781538171769","title":"Acting Is Believing: Stanislavski in the 21st","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003cp\u003eActing Is Believing has trained generations of actors and remains one of the most popular and influential classic Stanislavski-based acting books over the past sixty years. Now in its thirteenth edition, it has been reimagined for the art of acting in the twenty-first century.\u003c\/p\u003e\u003cp\u003eStanislavski expanded our understanding of the mysterious process that results in truthful acting, devising practical steps to pursue the most elusive element of the artform—inspiration. Acting Is Believing: Stanislavski in the 21st Century, 13th Edition, introduces students to all the major concepts of Stanislavski’s System of Acting, providing them with a logical process through which they can master this complex art. It breaks down even the most complex elements defining human behavior in ways that are easy to digest. \u003c\/p\u003e\u003cp\u003eThis new edition has been greatly updated, including:\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003eReworked chapters throughout to bring Stanislavski’s theories to life in a language that speaks to today’s actors\u003c\/li\u003e\n\u003cli\u003eA new approach to entering Stanislavski’s Creative State, broken into an innovative five-part process\u003c\/li\u003e\n\u003cli\u003eUpdated discussions on anxiety, physical tension, social inhibitions, and intimacy onstage\u003c\/li\u003e\n\u003cli\u003eModified solo and group exercises\u003c\/li\u003e\n\u003cli\u003eExpanded appendix on self-directed scene study \u003c\/li\u003e\n\u003cli\u003eRefined and updated glossary of acting, theatre, and film terminology \u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003eActing Is Believing remains grounded in Stanislavski-based technique training, yet this latest text has evolved as a vital resource for twenty-first century artists pursing acting careers in theatre, film, and television. With a foreword by two-time Tony Award winning actor, Norbert Leo Butz, Acting Is Believing continues to set the gold standard in the art of acting for a new generation.\u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003e\u003cp\u003eForeword by Norbert Leo Butz\u003c\/p\u003e\u003cp\u003ePreface\u003c\/p\u003e\u003cp\u003eAcknowledgments\u003c\/p\u003e\u003cp\u003eChapter 1A: Life in Art\u003c\/p\u003e\u003cp\u003eActing with Professional Competence\u003c\/p\u003e\u003cp\u003eThe Six Parts of Actor Training\u003c\/p\u003e\u003cp\u003eThe Business of Acting\u003c\/p\u003e\u003cp\u003eActing is Believing: Stanislavski in the 21\u003csup\u003est\u003c\/sup\u003e Century\u003c\/p\u003e\u003cp\u003eExternal Resources\u003c\/p\u003e\u003cp\u003eChapter 2: The Creative State\u003c\/p\u003e\u003cp\u003eBody Training\u003c\/p\u003e\u003cp\u003eBreathing and Posture\u003c\/p\u003e\u003cp\u003eExercise 2.1 Breathing\u003c\/p\u003e\u003cp\u003eExercise 2.2 Posture\u003c\/p\u003e\u003cp\u003eThe Creative State\u003c\/p\u003e\u003cp\u003eExercise 2.3 Aerobic\u003c\/p\u003e\u003cp\u003eExercise 2.4 Stretching\u003c\/p\u003e\u003cp\u003eExercise 2.5 Moving\u003c\/p\u003e\u003cp\u003eExercise 2.6 Vocalizing\u003c\/p\u003e\u003cp\u003eOn Anxiety\u003c\/p\u003e\u003cp\u003ePhysical Tension\u003c\/p\u003e\u003cp\u003eSocial Inhibitions\u003c\/p\u003e\u003cp\u003eNudity and Intimacy\u003c\/p\u003e\u003cp\u003eChapter 3: The Choice of Actions\u003c\/p\u003e\u003cp\u003eExercise 3.1 Given Circumstances and Imagination\u003c\/p\u003e\u003cp\u003eCommitment to Actions\u003c\/p\u003e\u003cp\u003eBelief in Actions\u003c\/p\u003e\u003cp\u003eImprovisational Technique\u003c\/p\u003e\u003cp\u003eExercise 3.2 Improvising Simple Tasks\u003c\/p\u003e\u003cp\u003eExercise 3.3 Recalling a Special Memory\u003c\/p\u003e\u003cp\u003eScoring Physical Actions\u003c\/p\u003e\u003cp\u003eTempo\/Rhythm\u003c\/p\u003e\u003cp\u003eExercise 3.4 Scores from Scenarios\u003c\/p\u003e\u003cp\u003eChapter 4: Stanislavski’s Method of Physical Actions\u003c\/p\u003e\u003cp\u003eSimple Objectives\u003c\/p\u003e\u003cp\u003eExercise 4.1 Refining Your Score\u003c\/p\u003e\u003cp\u003eAction Verbs\u003c\/p\u003e\u003cp\u003eExercise 4.2 Actions from an Emotional State\u003c\/p\u003e\u003cp\u003eExercise 4.3 Everyday Actions\u003c\/p\u003e\u003cp\u003ePhysical and Psychological Obstacles\u003c\/p\u003e\u003cp\u003eStrategy and Desire\u003c\/p\u003e\u003cp\u003eExpectations and Adaptations\u003c\/p\u003e\u003cp\u003eNonverbal Group Improvisations\u003c\/p\u003e\u003cp\u003eExercise 4.4 Waiting\u003c\/p\u003e\u003cp\u003eExercise 4.5 Not on Speaking Terms\u003c\/p\u003e\u003cp\u003eVerbal Group Improvisations\u003c\/p\u003e\u003cp\u003eExercise 4.6 Opposing Objectives\u003c\/p\u003e\u003cp\u003eExercise 4.7 Improvisation from Action Verbs\u003c\/p\u003e\u003cp\u003eExercise 4.8 Non-Content Scenes\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003eChapter 5: Observation\u003c\/p\u003e\u003cp\u003eExercise 5.1 Playing a Condition\u003c\/p\u003e\u003cp\u003eExercise 5.2 Three Objects\u003c\/p\u003e\u003cp\u003eExercise 5.3 Adjusting to Conditions\u003c\/p\u003e\u003cp\u003eObserving People\u003c\/p\u003e\u003cp\u003eExercise 5.4 Observation Notebook\u003c\/p\u003e\u003cp\u003eExercise 5.5 Creating an Actor’s Image Collage\u003c\/p\u003e\u003cp\u003eAdapting Your Observations\u003c\/p\u003e\u003cp\u003eExercise 5.6 Observing Visual Art\u003c\/p\u003e\u003cp\u003eAbstraction\u003c\/p\u003e\u003cp\u003eExercise 5.7 Abstractions from Inanimate Objects\u003c\/p\u003e\u003cp\u003eExercise 5.8 Abstraction from Animals\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003eChapter 6: Circles of Attention\u003c\/p\u003e\u003cp\u003eExercise 6.1 Distractions\u003c\/p\u003e\u003cp\u003eExercise 6.2 Add-a-Word\u003c\/p\u003e\u003cp\u003ePublic Solitude\u003c\/p\u003e\u003cp\u003eThe Small Circle\u003c\/p\u003e\u003cp\u003eExercise 6.3 Objects in the Small Circle\u003c\/p\u003e\u003cp\u003eCommunion\u003c\/p\u003e\u003cp\u003eExercise 6.4 Mirrors\u003c\/p\u003e\u003cp\u003eExercise 6.5 Silent Argument\u003c\/p\u003e\u003cp\u003eCommunion with the Audience\u003c\/p\u003e\u003cp\u003eDramatic Action in Speech\u003c\/p\u003e\u003cp\u003eExercise 6.6 Key Line Improvisation\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003eChapter 7: Emotion Memory\u003c\/p\u003e\u003cp\u003eStanislavski and Emotion Memory\u003c\/p\u003e\u003cp\u003eRetaining an Emotion Memory\u003c\/p\u003e\u003cp\u003eSelecting the Emotion Memory\u003c\/p\u003e\u003cp\u003eUsing the Emotion Memory\u003c\/p\u003e\u003cp\u003eEmotional Triggers\u003c\/p\u003e\u003cp\u003eExercise 7.1 Reconstructing a Personal Memory\u003c\/p\u003e\u003cp\u003eInner Images\u003c\/p\u003e\u003cp\u003eExercise 7.2 Verbalizing Images\u003c\/p\u003e\u003cp\u003eExercise 7.3 Image Improvisations\u003c\/p\u003e\u003cp\u003eInner Monologues\u003c\/p\u003e\u003cp\u003eExercise 7.4 Inner Monologues\u003c\/p\u003e\u003cp\u003eChapter 8: Creating a Character\u003c\/p\u003e\u003cp\u003eScript Analysis\u003c\/p\u003e\u003cp\u003eThe World of the Play\u003c\/p\u003e\u003cp\u003eExercise 8.1 Historical Imagination\u003c\/p\u003e\u003cp\u003eCharacter Autobiography\u003c\/p\u003e\u003cp\u003eExercise 8.2 Character Autobiography\u003c\/p\u003e\u003cp\u003eExercise 8.3 If It Were Up to Me…\u003c\/p\u003e\u003cp\u003eSecond Plan\u003c\/p\u003e\u003cp\u003eExercise 8.4 Second Plan\u003c\/p\u003e\u003cp\u003eExternal Expression\u003c\/p\u003e\u003cp\u003eUnits of Action\u003c\/p\u003e\u003cp\u003eScoring\u003c\/p\u003e\u003cp\u003eExercise 8.5 Scoring a Role\u003c\/p\u003e\u003cp\u003eThe Motivating Force\u003c\/p\u003e\u003cp\u003eExercise 8.6 Motivating Force\u003c\/p\u003e\u003cp\u003eThe Super-Objective\u003c\/p\u003e\u003cp\u003eExercise 8.7 Super-Objective\u003c\/p\u003e\u003cp\u003eSummary\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003eChapter 9: Subtext\u003c\/p\u003e\u003cp\u003eExercise 9.1 Improvising Subtext\u003c\/p\u003e\u003cp\u003eVerbal Action\u003c\/p\u003e\u003cp\u003eExercise 9.2 Text, Subtext, and Verbal Action\u003c\/p\u003e\u003cp\u003eRelating the Lines to the Motivating Force\u003c\/p\u003e\u003cp\u003eRelating the Lines to the Super-Objective\u003c\/p\u003e\u003cp\u003eManners of Speaking\u003c\/p\u003e\u003cp\u003eDialects and Accents\u003c\/p\u003e\u003cp\u003eExercise 9.4 Speech Patterns\u003c\/p\u003e\u003cp\u003eLonger Speeches\u003c\/p\u003e\u003cp\u003eExercise 9.5 Verbal Actions in Longer Speeches\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003eChapter 10: The Power of Words\u003c\/p\u003e\u003cp\u003eMeaning, Operative Words, and Idioms\u003c\/p\u003e\u003cp\u003eSentence Structure\u003c\/p\u003e\u003cp\u003eProgressions\u003c\/p\u003e\u003cp\u003eAntithesis\u003c\/p\u003e\u003cp\u003eSecondary Inner Images\u003c\/p\u003e\u003cp\u003eExercise 10.1 Longer Speeches\u003c\/p\u003e\u003cp\u003eChapter 11: Reincarnation\u003c\/p\u003e\u003cp\u003eTablework and Early Discoveries\u003c\/p\u003e\u003cp\u003eWorking Rehearsals\u003c\/p\u003e\u003cp\u003eExercise 11.1 Putting Spontaneity into Physical Choices\u003c\/p\u003e\u003cp\u003eRun-throughs and Technical Rehearsals\u003c\/p\u003e\u003cp\u003ePerformances\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003eChapter 12: The Business of Acting\u003c\/p\u003e\u003cp\u003eUnderstanding the Business\u003c\/p\u003e\u003cp\u003eBusiness Plan\u003c\/p\u003e\u003cp\u003eExercise 12.1 The Actor’s Business Plan\u003c\/p\u003e\u003cp\u003eExercise 12.2 The Elevator Pitch\u003c\/p\u003e\u003cp\u003eHeadshots and Resumes\u003c\/p\u003e\u003cp\u003eExercise 12.3 Resume\u003c\/p\u003e\u003cp\u003eIntroductory and Follow-up Emails\u003c\/p\u003e\u003cp\u003eExercise 12.4 Introductory and Follow-up Emails\u003c\/p\u003e\u003cp\u003ePreparing Your Audition\u003c\/p\u003e\u003cp\u003eExercise 12.5 Audition Preparation – Working Off a Partner\u003c\/p\u003e\u003cp\u003eAuditioning\u003c\/p\u003e\u003cp\u003eExercise 12.6 Moment Before\u003c\/p\u003e\u003cp\u003eExercise 12.7 Laughing at the Top\u003c\/p\u003e\u003cp\u003eExercise 12.8 Portfolio\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003eAppendix A: Self-Directed Scene Study\u003c\/p\u003e\u003cp\u003eAppendix B: Glossary\u003c\/p\u003e\u003cp\u003eBibliography\u003c\/p\u003e\u003cp\u003eIndex\u003c\/p\u003e","brand":"Rowman \u0026 Littlefield","offers":[{"title":"Default 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