Bringing the Body to the Stage and Screen

As Stage and Screen: artists explore means to enhance their craft, a new wave of interest in expressive movement and physical improvisation has developed. To bring authenticity and believability to a character, it has become increasingly vital tor actors to be aware of movement and physical acting. Stage and screen artists must now call upon physical presence, movement on stage, nonverbal interactions, and gestures to fully convey themselves.

Annette Lust is author of From the Greek Mimes to Mared Marceau and Beyond (Scarecrow, 2002), which was named the Choice Outstanding Academic Book in 2000 and was the George Freedly Memorial Award finalist in 2001. She is professor emerita at Dominican University of California in San Rafael, where she has taught beginning mime, theatre production, and French language and literature.

Foreword	p. vii
Preface	p. ix
Acknowledgments	p. xiii
Introduction: Goals and Objectives for Learning to Move Expressively	p. xv
Physical and Expressive Exercises	p. 1
Definitions of Stage and Screen Movement, Mime, Pantomime, Corporeal Mime, Stage Combat, Physical Theatre, and Physical Improvisation	p. 3
Conducting a Class and Practicing on One's Own	p. 11
Basic Physical and Expressive Exercises	p. 17
Utilizing Movement to Create a Visual Image	p. 99
Subjects for Improvisation, Pantomimes, Nonverbal Acting, Physicalizing the Word, and Mime and Text	p. 119
Improvisation	p. 121
Pantomimes and Scenes for Nonverbal Acting	p. 129
Physicalizing the Word, Mime and Text	p. 143
Interviews and Essays	p. 191
A Conversation with Bill Irwin on Mime and Acting	p. 193
Interview with Bernie Schürch and Floriana Frassetto of the Swiss Mummenschanz Company	p. 197
Interview with Geoff Hoyle on the Mime-Clown-Actor's Art	p. 201
Etienne Decroux and the Contemporary Theatre: Decroux Corporeal Mime	p. 205
Interview with Joanna Sherman and Michael McGuigan on the Bond Street Theatre	p. 215
On Movement Training for the Actor	p. 221
Dance and the Female Body	p. 225
Interview with Liebe Wetzel on Movement in Puppetry	p. 227
Images and Body Expression in Film; Gift of the Gods	p. 233
Theatrical Dance	p. 235
The Clown Conservatory Teaching of Professional Clowns in the Twenty-first Century	p. 237
Movement for Puppeteers	p. 239
Too Much Geniality: Notes and Quotes on a Reappraisal: Stage Versus Screen Acting	p. 241
The Body of Theater	p. 245
How Charlie Chaplin Spun Stagecraft into Cinematic Gold	p. 247
Epilogue	p. 253
Appendixes
Creating a Movement Training Program: Ten Sample Lessons	p. 253
Resources for Mime Plays, Pantomimes, Themes for Improvisation, and Scenes with and without Words	p. 267
Constructing a Mime Piece or Mimodrama	p. 281
Schools and Movement Training Centers	p. 289
Publications, Organizations, Festivals, and Resource Centers	p. 307
Selected Videography and DVDs	p. 311
Selected Bibliography	p. 319
Index	p. 329
About the Author	p. 341
Table of Contents provided by Ingram. All Rights Reserved.

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Bringing the Body to the Stage and Screen Expressive Movement for Performers

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