DVD - Alternative Coach

Promising actors are learning less expensive and more effective ways by requesting foreign rates at acting lessons and workshops. One of the most important ways is to display and analyze the performance of the video by award winning actors with a high reputation. Currently, these performances are cataloged online and can be easily obtained from rental sites such as Netflix and Blockbuster. At about $ 8 a month, these DVDs provide educational moments far beyond catch, as catch picks up as a scene learning workshop approach. In addition, they are economical alternatives to pay workshops / instruments between 350 and 600 dollars a month.

Why does this method work? First of all, I am concentrating on learning specific technologies. You have separated specific actions and attracted to what you need to assimilate. In the scene of the workshop, students are overwhelmed by many acting choices, no one will master them as they try to master a lot. In addition, the instructor can only comment on a limited number of elements. The overlooked defects are left unattended and become part of the student's skill set. Such a scene workshop often makes more trouble than correction. In addition, the instructor concentrates on the limited aspects of acting and rarely deal with people outside the comfort zone. As a result, students have gaps in training.

When you watch the DVD as your coach and you see or hear it, you understand the technique and know what to duplicate. Furthermore, if you do not acquire it first, you can repeat the scene until you fully understand the technique and you can effectively duplicate it. Such repetition penetrates the isolated side throughout your career. Likewise, I am actively involved in making dramatic choices when observing, understanding and reproducing various techniques. An important lesson is to emulate the technology used by the actor, not the performance of the actor.

People watching movies and television are familiar with great actors, especially nominations and award winning people. By observing these award-winning performances, you can learn a lot. With the advent of video tapes, digital cameras and DVD players, more and more drama instructors are using this highly effective teaching material. The great actor would have studied just like a great painter, composer, dancer. In order to improve dramatic awareness and agility and to expand one range, we need to dissect, analyze, emulate, and execute that work.

Such an approach is often disliked by most acting schools in the United States where personality promotes your mindset rather than crafts. In other worlds, the great actors are celebrated for their craftsmen. They are respected much more for their skills and skills than their celebrity position. Their performance is an economical and effective way to learn the art and science of acting.

Many of the acts are related to expressing human behavior clearly. If you are overflowing with the behavior that an adept actor plays, use the same acting, method, technique and develop similarly clear letters. When moved by acting, it is related to the choice the actor is making. Furthermore, analyzing its performance finds aspects of human behavior that apply to almost all situations. What are these aspects and how are they codified? The answer lies in researching and discovering what the award-winning actor is doing.

Let's begin with the non-verbal aspect of acting. More than half of our communication has nothing to do with what we say or how we say it. This is related to accompanying nonverbal behavior. Therefore, one dramatic training needs to concentrate on the component conveying the most information.

Internalization It is one of the more difficult actions to draw. It is the most important attribute for the finished actor. Internalization is related to the clarity of the character's thoughts and emotions. Praised actors use eye movements to describe and switch inner thoughts and emotions. However, young actors rarely connect because they have dialogue and blocking to memorize with many other dramatic choices. Internalization is rarely dealt with, but it tells more about that character than any other aspect.

Using Paul Newman's movie "Malignant Absence", I explain how eyes acts to project inner thoughts and emotions of characters. When that person disappears from what he is talking and becomes visible, it is a signal to infer what the audience is going on. The behavior of the eyes of the character and the area of ​​the focus are also taken into account with the facial expressions / emotions attached to this facial expression. This behavior becomes most language as the audience understands these internalization. When two characters are talking, you hear that dialogue, but it looks like it helps to clarify the internal dialogue. The tracking time in parentheses shows the location of the various examples.

"Lack of malice" puts pressure on FBI Task Force's Mike Gallagher (Paul Newman) to reveal information about riot hits. The newspaper article shows that he is investigating. Still, he has an alchemist alibi, but it is openly ridiculating his fragile friend Teresa (Melinda Dillon). In this first example, Teresa waits for Mike at his house (22: 03). She is reading sneaky newspaper articles and she wants to know what she should do. She wants to help him, but because he wants to avoid the result of going publicly, it is a conflict. Be aware of how you use the Focus Zone (Look Away) to classify issues, recalls, avoidance, connections to microphones, etc. by department.

When teaching how Mike answers FBI's questions, he calls strategies and possible answers using prospects. He likewise uses prefetching to portray concerns about the places surveyed.

The following example will be held in the park where Teresa meets the newspaper reporter Megan Carter (Sally Field) and reveals Mike's name (49:35). Teresa does not reveal the fact behind her shy secret until Megan departs. She later confessed that Mike had taken an abortion with her in Atlanta. Her relationship clearly manifests in her actions, imagining shame she may end again. Her internalization focuses on helping Mike when she wants to avoid announcing abortion. The actions of her eyes coupled with facial expressions and emotions clarify these objectives.

Next morning, I sat down in front of her (56: 22), and she waited for newspaper delivery. She will feel ashamed whenever she reads the story, everyone will know at once. The actions of her eyes foresee that unbearable humiliation will come. She picks up the newspaper lying in the front yard and takes it home.

Near the end of the movie (1: 35: 00) it shows how internalization adds conspiracy and energy to the scene. Attorney General (Wilford Brimley) is conducting a survey on leaks on ongoing investigations. Please be aware of how the participants who committed a crime commit a crime and respond to revelation accusing it. Mike has quietly won with a disadvantage from him. Many things are said in this nonverbal way, and that scene shows that actions of Powerye have as an acting tool.

Paul Newman and Melinda Dillon nominated Oscar, Sally Field's Golden Globe nomination.

Facial expression. Face is our identity and we are a means to recognize each other. Each facial feature and each pattern of change is truly unique. But despite this uniqueness, there is universality in emotional expression and we are integrating us in a fundamental and nonverbal way. We may think that face is the theater of the brain. At this stage, as the situation dictates, internal thinking and emotions are displayed, as the whole world is seen, disguised or held. By analyzing this aspect of acting we will recognize that possibility and create expressions that resonate with the audience.

Because she is camouflaging as a young man to appear in the plays of Shakespeare, Gwyneth Paltrow's character "Viola" of "Love's Shakespeare" (1998) uses a wide range of expressions. As a companion of love forbidden between her and her young Shakespeare, we need a further note. Because it is not cultural and aristocratic, she has to wear a lot of false masks pursuing happiness. There is one important scene (29: 34). It is a reversal that was first disliked by being fascinated by Shakespeare. She knows that she was engaged to her middle-aged master Wessex from her father. It is a miserable moment and her detained expression, her passion gets drunk by day's customs and tells a miserable story.

Please also note how she changes expressive size, speed, dynamics, duration, and completeness to satisfy the character's demands. There is forward movement in her expression. They are heading somewhere, towards something, moving towards realization, reflection and expectation. Also, please pay attention to a wide range of emotions and facial expressions that this movie uses from joy to sorrow, from desire to anger, from intimidation to decision.

Please look at the performance that Judy · Dentech won as Queen in the same movie. At Viola's audience (01: 01: 00) she is asked about the ability to express engagement and love to the theater. Although each has to respect the station, it is not a loose face, but a subtle fight. After the same scene, the Queen informs Sir Wessex of the fact that his unmarried people were caught, not by him, but with greedy fellows that he was tempted by greed but not love. The subtitle expression of Judi Dench depicts this pending marriage and the situation facing the problem. Dench and Paltrow both won Oscar for their performances.

The wartime movie "The Pianist" (2002) brings various expressions to the forefront. Consider Adrien Brody as a pianist of a young Jew, he struggles to survive the onslaught of Nazi tyranny during the Second World War. The expression of this movie is far more binding. The real feeling may mean punishment, death. In Warsaw's ghetto, suppression is dull and paralyzes. Therefore, the performance looks humble and flat, but the despair, helplessness and unstable situation of the victims tied to these Holocaust have a big influence on them. I know where they are going. They will not. A friend of the Jewish police formed to enforce the Nazi law will bring him out of the dead camp train (50:20), so that it is possible for a friend to leave the family and save his life Between, . With the help of the resistance of Poland, he is hiding in Warsaw. His face and expression evoke his hierarchy just like his companion, many of whom die. Fear, fear, fear, and guilt are the main parts of that performance. Even lighter moments are worried that they are always caught.

When a German officer found a hiding place (2: 01: 37), his hope for freedom seems to have crashed. However, he shook officials with his pianist talent so that he does not catch it. He survives from the will of the Lord and the gentleness of the wonderful Jew. Please pay attention to how to extend expressions using subtle variations and allow time to increase tension. Adrien Brody received the Academy Award.

Dialog delivery. The spoken word is the first focus of an actor focused on obvious matters such as projection, articulation, phrases. These are essential vocal skills, but more are being explored in this field. For example, where do you pause? How does the pace reflect the emotional state of the character? How should you consider considerations such as situation, relationship, development of personality, emphasis on the direction of the story, dynamics, reflection of contrast? Looking at the interactive distribution of certified actors, we see the quality of organic people who attract us to the world. They stop thinking, they raise with anger, they whisper the secret of the soul.

"To A Kill a Mocking Bird" (1962), which won the Gregory Peck award, is an excellent example of solid dialogue delivery. While defending the black who was raped by a young white woman, he plays a brave small city lawyer facing racial discrimination. His measured thoughtful delivery speaks to the gentle and gentle 1932 America, long before freedom and equality become reality. The courtroom scene is most admired in the movie. The aggregation of pecks to the jury (1: 31: 40) is a wonderful study which faithfully demonstrated various delivery techniques. He supports the evidence and appearance of deliberating the debate and doing the right thing to the jury and returning this man to his family. He turns his word to an appropriate goal, which is guilty, shameful, and obliged. He leaves space to contemplate, review and judge. Dialogue emphasis, well-placed dialogue emphasis, contrast and dynamics enlighten our conscience and make moving speech awakening humanity.

Anne Hathaway's performance of "Rachel Getting Married" (2008) is a brilliant example of a dysfunction character living at the edge. In the former model suffering from narcotics from rehab during the weekend, she attends her sister's wedding ceremony, causing psychological confusion to the loved ones. Her selfishness and socialist ability, which can not think anything beyond your own needs, creates a refreshing tension. She makes the spotlight angry at her biggest night in her sister's life. At the rehearsal dinner, her toast (34: 24) wants to make amends for her life about her life. Her delivery has a peace-free quality that makes it flapping. She creates an embarrassing atmosphere that makes her discomfort to the procedure. She changes his speech, she is awkward and does not talk to anyone in particular. On this last side, it became clear that at the dinner, a sign of self disgust, she talks more than herself rather than connecting with others. Her drama Queen's anger and paranoia continue with a rapid explosion and an unstable emotional explosion even in a scene after the dialogue delivery is uncontrollable and chaotic. However, interactive elements such as emphasis, dynamics, pause, and contrast remain. Except this, the uncertainty about what she says next and how she says of it is quite large. This unpredictable quality leads the audience to her life and as her tragic storyteller is broken, she feels her pain and root for her recovery. Hathaway received the Golden Globe Award and the Oscar Nomination for her performance.

gesture Gestures are movements of every part of the body that helps express ideas and convey emotions. Therefore, they have a purpose. They can not only strengthen emotions and actions but also reveal specific mind states. A gesture is an important part of action as the audience judges that they are what they saw rather than what they hear. When describing a gesture, there are many considerations such as the relative placement to deal with a dialogue, its purpose, the type of body movement, and so on. Half or incomplete gestures also influence and express another aspect of the character.

In the movie "Bridge of Madison County" in 1995, Meryl Streep effectively uses gestures to raise their feelings and intentions. She plays a lonely dissatisfying housewife Francisca Johnson whose eyes and heart were opened to true love when Robert (Clint Eastwood) arrives to take a picture of Madison County's covered bridge. They start as friends with unlimited abilities for talking about their ideals and passion, conversation. But after 24 hours, they fall in love. Her gesture reflects a growing relationship. They will hesitate or be arrested at an early date, but later they become more secure and open. When Streep tries to give Eastwood's instructions (18: 15) to the covered bridge, she uses her unhappy, various direct gestures expressing her Italian heritage and her frustration . A surface of frustration for her charm for her. In her dialogue and gesture, please be aware of nonsync elements.

In a later scene, she answered the phone (1: 10: 52), as she moves behind him, he adjusts the collar, polishes his neck with his fingers, and moves his hand to him I will leave it on the shoulders. He puts his hands on her in turn. It has evolved into a romantic dance and now it is said to be one. After that, at the scene of the kitchen discussion (1: 31: 15) she asks "What will we do?" In this confrontation scene, her gestures become more aggressive and powerful. With anger, she pushes the chair away, but in the settlement her gestures become emotional.

Through the movie, she covers her face with both hands and touches the side of the head and repeats the gesture showing her personality. These hits will help draw her thoughts and emotions. When Francesca riding with her husband is behind Robert's pickup with red light, the most memorable gesture in the movie entered the rainy scene (1: 50: 57) and he . When she hits the handle, the handle of the door becomes prominent. Her fingers are tightened and pulled back to unlock the door. The miserable moment she has to decide, the hand above the latch strongly depicts this mess. She has to get out or be with her husband.

This performance won Oscar nomination as the protagonist of Streep.

Selection of purpose and emotion. The ability to select and convey strong intent and emotion is a valuable tool for actors. These powers move the character through the story. They create a sense of romance / disgust, as the audience watches, evaluates, writes sentences and stands by. They intensify conflicts within characters or between characters, establish the audience as the main character of the hero and establish a sympathetic or hostile role to boost the bad guys. These alternatives are derived from the character 's point of view, the one the character feels and knows up to that point of the story. Normally it is supportive, but in their conflict, emotions may be inconsistent with intention within character. In relationships and conflicts, the combination of intention / emotion is usually inconsistent with the person's character.

In the movie of 1997, "Just like that" Jack Nicholson plays an obscurative casualty and exhorts insults of any form or shape of someone in his path. A serious change is waiting for them all when he sends single moms and waitresses (Helen Hunt) and gay neighbors (Greg Kinar) highlighted and his dog to his life. This movie shows how the situation, relations, and events change characters. Will and feelings. It also shows how these strong desires and desires intensify their involvement in the story.

Melvin Udall (Jack Nicholson) strictly follows the daily routine of eating breakfast at a restaurant where Carol Connelly (Helen Hunt) works. She is just a waitress to do bad things about abuse. Talking about her asthmatic son (13: 30), he opens his mouth saying, "Sounds like your son will die." Carol says such a thing to him. And I apologize to you. If there is something his fluffy attitude changes and he wants to preserve the breakfast ritual, he must say that I am sorry. By doing so, he is unwillingly drawn into her life. In the latter scene (22: 25), he asks her "What's wrong with your son?" He is sympathetic because he is also the only person waiting for him. Still, it is her growing attraction as a woman who became an arc of his character, carrying him to the world I had avoided before.

Near the end of act 1, his homosexuals have been hospitalized by a thief. Melvin is obliged to take care of the dog (26: 30) and opens his heart to feel more deeply about things other than his own. He will accompany the dog. He takes him to the restaurant. Carol senses this change and she feels that he is more attractive. When triggering these events, the direction of the character's & # 39; choice and the subsequent story.

In this movie there are many intentions and emotional changes, in most cases, motivated by an event. With these changes, the film is ideal for analysis. In addition, guidelines will be reflected sticking to one dominant choice until you change something. Applying this simple dramatic rule gives the performance clarity and purpose. I did not identify the actor. It is because there is a broad interpretation of what they are. The lesson to be removed is that the options were properly implemented and changed when moved by subsequent events. They were also an option to support dramatic equations, drive the story to optimum possibilities, and create the desired illusion in the audience's mind.

The choice of these options is not arbitrary. I am studying scripts, collaboration, trial and error. In this movie, we sometimes took a lot of take to get the impact of desire. The film nominated for the seventh Academy Awards received the heartfelt performance of Nicholson's Oscar and Hunt.

Blocking and movement. Most athletes believe that the block and movement are the sole responsibility of the director. However, the actor knows that the best character and superior director are seeking this information. What is a block? Blocking is the placement and movement of letters to visualize characters. The visual story reflects the instantaneous failure and success of each character's goal, and the strength (commitment) and focus (direction) of emotion. Therefore, blocking is the accumulation of several elements, such as dramatic relationships, what the character desires, feeling, what is in the way, and how the dispute is currently solved.

To explain the blocking technique, I choose the 1942 World War II movie "Casablanca" starring the old classics, Humphrey Bogart, Ingrid Bergman, Paul Unreair. This movie uses a traditional blocking scheme to spin out a closely crafted story about conspiracy, love, and courage. In the movie, coverage (angle shot) and editing (selected angle and duration) determine the visual story and analyze them to understand the basic parameters of the block. In particular, how the choice of blocking is related to the story's transmission.

Rick Blaine (Humphrey Bogart), an American representative who has won this Oscar award, is a member of the gamblers, thieves and refugees in the Moroccan night club during the Second World War. The exit visa is a prize of a plot-led story where Nazi and Vichy police confront against those trying to escape the German occupation. We found that two German courier companies murdered in the desert were found and black marketer Ugarte (Peter Lorre) is involved in some way. He brought the stored exit visa to Rick.

Blocking at this scene is usually standing at 2 shots (2 people) sometimes, sitting at other times. In fact, the two shots are widely used throughout the movie, as relations, conflicts, and resolutions are mainly one to one. This choice focuses on the central letters and their relationships. It also helps to isolate the close secrets that they hold and share. Blocking is subtle and effective, but each character has space to express, observe, and comment on the change.

In this scene between Rick and Ugarte (09: 57), Ugarte reveals his expectations for selling an exit visa for a lot of money.彼のアニメーション表現、ジェスチャー、動きは、シーンの中でより面白い要素になり、その構成は彼の性格を好む。自信を持って、彼は盗んだ紙をリックに渡すことに頼る。彼をより大きく見せるために、カメラの角度は目の高さより低い。この角度は、同様にバックグラウンドプレイヤーの影響を軽減します。リックは、彼が聴きながら、主にプロフィールで見られます。対話がもっとサラウンドと露呈になると、角度はシングル（クローズアップ）に変わります。これは1人のキャラクターに焦点を絞り、彼の貢献をより意味のあるものにします。視線もある角度から別の角度に切断するときに一貫しています。連続性はブロッキングの第一歩であり、その後のアングルやテイクでもまったく同じようにアクションを繰り返すことが重要です。ウガルテが自分のたばこをカットからカットまでどのように扱っているかを見て、連続性を保ちます。

1:19:30に、第3の行為の転換点が起こる。 Ilsa（Ingrid Bergman）は、Rickのアパートの雇用を待って、夫に退職ビザを渡すべきだと説得します。リックがイルサと出口ビザ、そしてイルサの夫、ビクター・ラズローの運命について決定を強いられる場面です。シーンは、ムービーが最終的にどのように解決されるかを設定します。

動きとブロックを調べましょう。リックはクラブの上に彼のアパートに入り、Ilsaが横に立っているのを見つける。彼は部屋の中心に移動し、Ilsaは彼に直面するために移動します。彼女を信頼することに関連して、彼はバルコニーのドアに後退し、彼女は再び彼に直面するように動く。彼はまた、机の上で何かを探して離れます。彼女は続いて、彼に嘆願します。彼は去って行き、彼女は離れる。彼が背を向けると、彼は彼に指された銃があるのを見る。彼は近づいて彼女を敢えて撃つ。彼女はくつろぎ、離れていく。彼は彼女の絶望によって取り込まれ、彼女が実際にパリで起こったことについての彼女の自白を開始するように彼女を腕に連れて行きます。

回転する空港標識への切り抜きは、時間の経過を示しています。

リックは見下ろすバルコニーの出入口に立っている。彼は振り返り、彼女に続けるように頼む。彼女は今、ソファーに位置しています。彼は理解と赦しを求める彼を見上げるように耳を傾ける。彼は近づく。彼女は彼を見上げて、長い話をして、より多くの話を告白する。彼は今彼女のジレンマを理解し、彼女の隣に座っているソファーの周りを動く。彼女は彼女の話の終わりまでクローズアップを続ける。結局、彼女は最終的な決定は彼に任されていると言って彼の肩に傾きます。彼は私たちのために、私たちのために考えなければならないということです。

このシーンを見ると、キャラクターの欲望や気持ちが動きや動きを動かすことがわかります。例えば、リックの不信感は彼女を彼女から遠ざけてしまいます。彼女は彼女を遠ざかり、リックに立ち向かい、出口ビザを取得する必要があります。彼はパリで何が起こったのかについて彼女の説明を聞くと、彼女の声を聞き始め、彼女を信頼し、最後には彼女を近づけるように近づく。また、RickとIlsaの間の視線に注目してください。これは彼が決定権を持っていることを示しています。最後の彼の見方は、彼はまだ彼の心を作っていないと言って、この転換期のシーンで彼の行動を正当化する満足のいく終わりのための観客を設定します。

カサブランカはオスカー賞を受賞し、ベスト・ディレクター、ベスト・ピクチャー、ベスト・スクリプティングを受賞しました。それはまた、最高俳優（ボガート）と最高支持俳優（クロードレインズ）のためのノミネートを獲得しました。

DVDで評価され賞を受賞した公演を分析することにより、多くの学習機会が利用可能です。これらの利点を追求することで、訓練費を削減しながら、あなたの演技の範囲と質を向上させることができます。この記事では、演技の最も基本的な要素について触れ、トレーニングプログラムの一環としてこれらの要素を研究し、研究する必要があります。

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