| Foreword |
|
ix | |
| Acknowledgments |
|
xi | |
| Endorsements |
|
xii | |
| Introduction |
|
1 | (4) |
|
|
|
5 | (25) |
|
Warm-up: what we do and how we approach it |
|
|
5 | (3) |
|
|
|
8 | (22) |
|
|
|
8 | (2) |
|
|
|
10 | (3) |
|
|
|
13 | (1) |
|
|
|
14 | (4) |
|
|
|
18 | (2) |
|
|
|
20 | (3) |
|
|
|
23 | (1) |
|
|
|
24 | (2) |
|
|
|
26 | (1) |
|
Realign against the floor |
|
|
27 | (1) |
|
|
|
28 | (2) |
|
|
|
30 | (19) |
|
|
|
31 | (13) |
|
|
|
32 | (1) |
|
|
|
32 | (1) |
|
|
|
33 | (1) |
|
|
|
34 | (2) |
|
Amoeba exercise: "instant art" |
|
|
36 | (1) |
|
|
|
37 | (1) |
|
|
|
38 | (1) |
|
|
|
39 | (1) |
|
Environment/group exercise |
|
|
40 | (1) |
|
Parallel walking exercise |
|
|
41 | (2) |
|
|
|
43 | (1) |
|
|
|
44 | (5) |
|
Freeze frame exercise 1: physical extremes |
|
|
44 | (1) |
|
Freeze frame exercise 2: given circumstances |
|
|
45 | (1) |
|
Freeze frame exercise 3: partnering with imagery |
|
|
46 | (1) |
|
Freeze frame exercise 4: intimacy |
|
|
47 | (2) |
|
|
|
49 | (40) |
|
|
|
49 | (2) |
|
|
|
51 | (1) |
|
|
|
52 | (14) |
|
|
|
53 | (6) |
|
|
|
59 | (4) |
|
|
|
63 | (2) |
|
|
|
65 | (1) |
|
Direct application: improvisation |
|
|
66 | (6) |
|
|
|
66 | (1) |
|
Isolation circle toss exercise |
|
|
67 | (1) |
|
Isolation leading exercise |
|
|
68 | (1) |
|
|
|
69 | (1) |
|
|
|
70 | (2) |
|
Mime illusions: articulated action |
|
|
72 | (10) |
|
Hand and wrist articulation exercises |
|
|
72 | (1) |
|
|
|
73 | (1) |
|
Small-object-drop illusion |
|
|
74 | (1) |
|
|
|
75 | (1) |
|
Ball throw to the sky illusion |
|
|
76 | (1) |
|
Ball toss side to side illusion |
|
|
76 | (1) |
|
|
|
77 | (1) |
|
|
|
78 | (4) |
|
|
|
82 | (7) |
|
|
|
83 | (1) |
|
|
|
84 | (1) |
|
|
|
85 | (2) |
|
Real time versus slow motion |
|
|
87 | (2) |
|
|
|
89 | (44) |
|
The arc and the exercises |
|
|
90 | (43) |
|
Group 1 exercises: weight and counterbalance |
|
|
90 | (4) |
|
Group 2 exercises: weight support (skeleton) |
|
|
94 | (7) |
|
Group 3 exercises: floor support |
|
|
101 | (13) |
|
|
|
114 | (19) |
|
5 Contact Improvisation Practice and Scene Study |
|
|
133 | (49) |
|
Preliminary improvisation |
|
|
135 | (6) |
|
|
|
135 | (1) |
|
Exercise 1: flying saucer improvisation (solo) |
|
|
136 | (1) |
|
Exercise 2: trading fours |
|
|
136 | (3) |
|
|
|
139 | (2) |
|
|
|
141 | (8) |
|
What to look for when observing |
|
|
145 | (2) |
|
Contact improvisation: milling |
|
|
147 | (1) |
|
Contact improvisation: tai chi hands |
|
|
147 | (1) |
|
Contact improvisation: fox-trot |
|
|
147 | (1) |
|
Contact improvisation: release |
|
|
148 | (1) |
|
Contact improvisation: eyes closed |
|
|
148 | (1) |
|
Contact improvisation: amoeba |
|
|
148 | (1) |
|
Contact improvisation: twister |
|
|
149 | (1) |
|
Contact improvisation: random beginning |
|
|
149 | (1) |
|
Contact improvisation with text |
|
|
149 | (3) |
|
Contact improvisation with dialogue |
|
|
151 | (1) |
|
Contact improvisation with a scene |
|
|
152 | (30) |
|
Romantic comedy in contact |
|
|
153 | (4) |
|
|
|
157 | (7) |
|
|
|
164 | (6) |
|
Contemporary drama in contact |
|
|
170 | (12) |
|
|
|
182 | (18) |
|
Contemporary comedy in contact |
|
|
183 | (4) |
|
Contemporary comedy: out of contact into realism |
|
|
187 | (4) |
|
|
|
191 | (4) |
|
Monologue: out of contact into realism |
|
|
195 | (3) |
|
|
|
198 | (2) |
|
|
|
200 | (25) |
|
Movement theater creation: the early work |
|
|
201 | (1) |
|
|
|
202 | (6) |
|
|
|
202 | (2) |
|
Structural elements: building blocks for construction |
|
|
204 | (2) |
|
Movement theater: the guidelines |
|
|
206 | (1) |
|
|
|
207 | (1) |
|
Devising with a group: Counter Balance Theater examples |
|
|
208 | (17) |
|
Jane Eyre: our practical creative process in adapting literature for the stage |
|
|
209 | (6) |
|
The Iliad: Menin (Rage): slow motion as a combat tool |
|
|
215 | (2) |
|
Reading Frankenstein: causality between live performers and technology |
|
|
217 | (2) |
|
Elsewhere: isolations and physical theater as a metaphor |
|
|
219 | (2) |
|
She: spatial orientation in staging |
|
|
221 | (1) |
|
Counter Balance; steal from us! |
|
|
222 | (3) |
| Index |
|
225 | |
Biežāk uzdotie jautājumi par e-grāmatām