Acting for Film by Cathy Haase

By Cathy Haase

"Acting for movie is a publication approximately performing in movies and the recommendations that may be used to behave in entrance of the camera..."

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Sample text

If you don’t taste the lemon, or for that matter don’t respond to any of the senses in your imagination at this point, remember these are concentration exercises. We are not working for results; we’re just doing inventory. We are moving through our repertoire of stimuli to discover what creates a strong reaction and formulating the necessary structure from which to work our concentration. Try combining the senses of smell and taste. Think of one of your favorite foods as a child, something associated with where you come from.

Comedians do this all the time. They have done their groundwork, and now, they are just delivering the goods. Students and actors who are trying to expand their instruments have to go back to the discovery process. Even seasoned professionals, if they are worth their salt, continue the discovery process instinctively at 37 every chance. They have learned through experience how much more exciting their work is when they do this. THE INNER MONOLOGUE WITH TEXT CHAPTER 3 Let’s go back to sitting in the chair.

So, let’s consider the ear and its construction. Try and feel the ear canal and the outer part of the ear, which “catches” the sound. Now, place yourself in the same bedroom at home, still with your eyes closed (it’s easier to concentrate that way, we’ll open them later), and try and hear the sounds of that room. Again, pose questions: Am I alone in the house? If not, do I hear anyone else? If I look out the window, what do I hear? Does the room have sounds of its own? The water in the pipes, sounds of wind, the window blinds tapping slightly against the wall?

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