From stage to screen : a theatre actor's guide to working on camera / Bill Britten.

Format:

Book

Author/Creator:

Britten, Bill, author.

Language:

English

Subjects (All):

Acting.

Physical Description:

1 online resource (249 p.)

Distribution:

London, England : Bloomsbury Publishing, 2020

Place of Publication:

London, England : Bloomsbury Methuen Drama, 2020.

Language Note:

English

Summary:

"From Stage to Screen is a handbook for the professional actor packed with advice on how to make the transition and fully prepare for a TV or film role"-- Provided by publisher.

Contents:

Title Page; Copyright Page; CONTENTS; ACKNOWLEDGEMENTS; FOREWORD; INTRODUCTION; Chapter 1 LET'S PRETEND; Acting is easy; Acting is difficult; The intellectual actor; Developing yourself; Emotional intelligence; Chapter 2 THE BIG DIFFERENCES; The similarities; The differences; Section 1

SHOWING, SHARING AND THE INNER WORLD; Chapter 3 SHOWING AND SHARING; The act of observing changes the thing that's being observed; Showing; Where's your attention?; Don't just do something, stand there; Chapter 4 THE INNER WORLD; The close-up and the inner monologue; Chapter 5 LISTENING.

Listening and the inner worldPoint of attention; Spontaneity; Chapter 6 COMMITMENT; Creating the imaginary world; Commitment; Section 2

MAKE THE SHOT WORK; Chapter 7 FILMING

THE BIG PICTURE; Development (and pre-pre-production); Three phases of production; Pre-production; Post-production; Production; Meeting the schedule; Collaboration; Practice; Chapter 8 UNDERSTANDING THE SHOTS; Single versus multi-camera shooting; What do I need to know about the shots and camera terminology?; Chapter 9 GLOSSARY OF SHOTS; Master; Wide/Mid/Close; Single; Dirty/Clean; 2 Shot; Tracking shot; Coverage.

Set-upsReverse; Slate; Working with technophile/geek actors; Chapter 10 HITTING MARKS; Marks; Focus; Putting down marks; How to hit your marks; The soft bag; The real challenge; Practice; Chapter 11 OVERLAPS; Why overlaps matter; Chapter 12 CONTINUITY; Why continuity matters; Movement drives the cut; How to manage your continuity; Emotional continuity; Practice; Chapter 13 POSITIONING YOURSELF FOR THE CAMERA; Opposing singles; Finding the camera; Reverses; Standing up and sitting down; Chapter 14 THE VOICE; Projection; Mumbling; Chapter 15 FACIAL AWARENESS; Facial awareness; Eye movement.

BlinkingAround the eyes; Eye contact; The mouth and the jaw; Swallowing; Using this awareness; Chapter 16 PLAYING THE CAMERA; The doughnut; Eye movement; Knowing and not-knowing; Looking down; Lateral eye movement; Repeated eye movements; Chapter 17 LOVING THE CAMERA; Loving the camera; Section 3

DOING IT; Chapter 18 GETTING THE JOB; Castings; Improving the odds; In the room; Filming yourself for castings; Chapter 19 PREPARATION; Creating a character; Chapter 20 BODY HEAT

PLOT SYNOPSIS; Chapter 21 PREPARING TEDDY; Start with the facts; Assumptions; Creating a past; Make it relevant.

Shared historyWhat happened today?; What do you want?; Chapter 22 PREPARING THE TEXT; Learning the lines; Delivering the lines; Parentheses; Subtext and inter-text; Subtext and inter-text in Body Heat; Out there to in here and back again; Teddy's second scene; Chapter 23 MAPPING; Larger parts; Summarize the scenes; Asking the right questions; Chapter 24 THE READTHROUGH; Chapter 25 AT THE SHOOT; Getting there; The call sheet; Arriving at the set or location; Your scene partner(s); Waiting, waiting, waiting; Preparing yourself; Phones; Chapter 26 WHO'S WHO IN THE CREW.

Notes:

Includes index.

Print version record.

ISBN:

9781408184905

1408184907

9781472522641

1472522648

OCLC:

1201426293