Acting From the Ultimate Consciousness by Morris, Eric -- Read -- Imperial Library of Trantor

Index

Cover Also by Eric Morris Title Copyright Dedication Contents Introduction 1. Consciousness

Being, Irreverence, and the Ultimate Consciousness The Components of Consciousness How to Develop Consciousness

Developing Curiosity Dealing with the Imagination

Fantasies Making up Stories About People and Things

Heightening Awareness Encouraging Sensitivity

Using the Personal-Point-of-View Technique

Becoming Perceptive

Deductive Observation

Developing Interest

Increasing Interest by Listening Stimulating Greater Interest by Questioning

Consciousness through Knowledge

Acquiring Knowledge

Concern and Affinity for All Life

2. The Ultimate Consciousness

The Ultimate-Consciousness Experience Personal Experiences with the Unconscious The Conscious-Unconscious Connection

Personal Inventory III

Techniques for Making Conscious Connections with the Unconscious

Dreams

Becoming Increasingly Aware of Your Dreams Remembering Your Dreams Encouraging Yourself to Re-Experience What you Dream

Using Sense Memory to Re-Create a Dream

The Sleep-Wake State

The Night State The Morning State

Becoming a Spectator in Your Dreams Manipulating Your Dreams

Intuition

Strengthening Intuition and Learninc From it

Using Impulsivity to Encourage Intuition

Exercising Your Intuition on the Stage

Expressing Impulses in Sounds and Gibberish Inner-Outer Monologues

Exercises That Promote Ultimate Consciousness

The Primal Moan Primitive Abandonment Switch-Trick Exercise in Fear and Terror Areas The Ultimate-Consciousness Trio Animal Explorations “I’m Five Years Old and I. . .” Affective Memory as a Tool to Stimulate the Unconscious Choice Hunts Images

Fragmented Imaces Fragmented-Image Visualization

Memory-Lane Field Trips and Explorations

The Ultimate-Consciousness Choices

3. Ensemble

What Is Ensemble? Ensemble Preparations

Being Workout Intimate Sharing Double Exposure Wonder, Perceive, and Observe Telepathy Blind Communication Imaginary Monologues Imaginary Dialogues Believability Looking for Things about the Other Person You Have Never Noticed Before Ensemble Workout “You Make Me Feel”

Working for a Choice and Promoting Ensemble Ensemble and the Ultimate Consciousness Example of Two Actors Involved in an Ensemble Process

4. Journals and Charts

The Actors Daily Journal

General Guidelines The Entries The Journal—an Example

Journal Logs

The Journal Log—an Example

Another Kind of Journal

The “I’m-Five-Years-Old” Journal

Charts

The Obligation-Choice-and-Choice-Approach Chart The Continuity Chart

Creating a Continuity Chart

5. Characterization

What Is Character? Finding the Clues to the Character What the Author Says about the Character What the Other Characters Say to or about the Character What the Character Says about Himself The Actions and Interactions of the Character Some Examples The Four Parts of Character Charting a Character in These Areas Characters in Known Material Approaching the Creation of the Character Elements with the Chart Some Specific Examples Using the Craft Taped Excerpts of Actors Working on Characterization in a Workshop Choice Approaches Designed to Deal with Characterization The Externals Choice Approach Affective Memory Sub-Personalities The Different Sub-Personalities Some Characters Who Are Identifiable Sub-Personality Choices The Character Background Journal Example of a Character Background Journal A Taped Excerpt of an Actress Creating a Character Background Journal

6. The New Choice Approaches

23. Sharing Monologues Using the Approach 24. Selective Enhancement Using the Approach Example of Selective Enhancement in Conjunction with Believability 25. Evocative Images Using the Approach

7. Rehearsing

Knowing How to Rehearse in the Various Mediums Rehearsing for a Film Preparing at Home Preparation on the Set Getting the Other Actor to Prepare with You Working with the Various Directors How to Use the Brief Rehearsals You Get A Rehearsal and Preparation Checklist for Film Acting Rehearsing for a Play A Rehearsal Checklist for Doing a Play Rehearsing a Scene for a Class or Workshop Ten Sample Rehearsals Summary of Choices, Choice Approaches, and Techniques Used in the Ten Rehearsals

8. The Magic of Acting

The Process and How It Promotes Magic The Magical Child and the Magical Actor The Controversy and Misunderstandings about Process and Magic The Ultimate Consciousness, Threshold of Magic

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