Acting Is Believing has trained generations of actors and remains one of the most popular and influential classic Stanislavski-based acting books over the past sixty years. Now in its thirteenth edition, ithas been reimagined for the art of acting in the twenty-first century. Stanislavski expanded our understanding of the mysterious process that results in truthful acting, devising practical steps to pursue the most elusive element of the artform—inspiration. Acting Is Believing: Stanislavski in the 21st Century, 13th Edition,introduces students to all the major concepts of Stanislavski’s System of Acting, providing them with a logical process through which they can master this complex art. It breaks down even the most complex elements defining human behavior in ways that are easy to digest. This new edition has been greatly updated, including: Reworked chapters throughout to bring Stanislavski’s theories to life in a language that speaks to today’s actorsA new approach to entering Stanislavski’s Creative State, broken into an innovative five-part processUpdated discussions on anxiety, physical tension, social inhibitions, and intimacy onstageModified solo and group exercisesExpanded appendix on self-directed scene study Refined and updated glossary of acting, theatre, and film terminology Acting Is Believing remains grounded in Stanislavski-based technique training, yet this latest text has evolved as a vital resource for twenty-first century artists pursing acting careers in theatre, film, and television. With a foreword by two-time Tony Award winning actor, Norbert Leo Butz, Acting Is Believing continues to set the gold standard in the art of acting for a new generation.

Table of Contents:
Foreword by Norbert Leo Butz Preface Acknowledgments Chapter 1A: Life in Art Acting with Professional Competence The Six Parts of Actor Training The Business of Acting Acting is Believing: Stanislavski in the 21st Century External Resources Chapter 2: The Creative State Body Training Breathing and Posture Exercise 2.1 Breathing Exercise 2.2 Posture The Creative State Exercise 2.3 Aerobic Exercise 2.4 Stretching Exercise 2.5 Moving Exercise 2.6 Vocalizing On Anxiety Physical Tension Social Inhibitions Nudity and Intimacy Chapter 3: The Choice of Actions Exercise 3.1 Given Circumstances and Imagination Commitment to Actions Belief in Actions Improvisational Technique Exercise 3.2 Improvising Simple Tasks Exercise 3.3 Recalling a Special Memory Scoring Physical Actions Tempo/Rhythm Exercise 3.4 Scores from Scenarios Chapter 4: Stanislavski’s Method of Physical Actions Simple Objectives Exercise 4.1 Refining Your Score Action Verbs Exercise 4.2 Actions from an Emotional State Exercise 4.3 Everyday Actions Physical and Psychological Obstacles Strategy and Desire Expectations and Adaptations Nonverbal Group Improvisations Exercise 4.4 Waiting Exercise 4.5 Not on Speaking Terms Verbal Group Improvisations Exercise 4.6 Opposing Objectives Exercise 4.7 Improvisation from Action Verbs Exercise 4.8 Non-Content Scenes Chapter 5: Observation Exercise 5.1 Playing a Condition Exercise 5.2 Three Objects Exercise 5.3 Adjusting to Conditions Observing People Exercise 5.4 Observation Notebook Exercise 5.5 Creating an Actor’s Image Collage Adapting Your Observations Exercise 5.6 Observing Visual Art Abstraction Exercise 5.7 Abstractions from Inanimate Objects Exercise 5.8 Abstraction from Animals Chapter 6: Circles of Attention Exercise 6.1 Distractions Exercise 6.2 Add-a-Word Public Solitude The Small Circle Exercise 6.3 Objects in the Small Circle Communion Exercise 6.4 Mirrors Exercise 6.5 Silent Argument Communion with the Audience Dramatic Action in Speech Exercise 6.6 Key Line Improvisation Chapter 7: Emotion Memory Stanislavski and Emotion Memory Retaining an Emotion Memory Selecting the Emotion Memory Using the Emotion Memory Emotional Triggers Exercise 7.1 Reconstructing a Personal Memory Inner Images Exercise 7.2 Verbalizing Images Exercise 7.3 Image Improvisations Inner Monologues Exercise 7.4 Inner Monologues Chapter 8: Creating a Character Script Analysis The World of the Play Exercise 8.1 Historical Imagination Character Autobiography Exercise 8.2 Character Autobiography Exercise 8.3 If It Were Up to Me… Second Plan Exercise 8.4 Second Plan External Expression Units of Action Scoring Exercise 8.5 Scoring a Role The Motivating Force Exercise 8.6 Motivating Force The Super-Objective Exercise 8.7 Super-Objective Summary Chapter 9: Subtext Exercise 9.1 Improvising Subtext Verbal Action Exercise 9.2 Text, Subtext, and Verbal Action Relating the Lines to the Motivating Force Relating the Lines to the Super-Objective Manners of Speaking Dialects and Accents Exercise 9.4 Speech Patterns Longer Speeches Exercise 9.5 Verbal Actions in Longer Speeches Chapter 10: The Power of Words Meaning, Operative Words, and Idioms Sentence Structure Progressions Antithesis Secondary Inner Images Exercise 10.1 Longer Speeches Chapter 11: Reincarnation Tablework and Early Discoveries Working Rehearsals Exercise 11.1 Putting Spontaneity into Physical Choices Run-throughs and Technical Rehearsals Performances Chapter 12: The Business of Acting Understanding the Business Business Plan Exercise 12.1 The Actor’s Business Plan Exercise 12.2 The Elevator Pitch Headshots and Resumes Exercise 12.3 Resume Introductory and Follow-up Emails Exercise 12.4 Introductory and Follow-up Emails Preparing Your Audition Exercise 12.5 Audition Preparation – Working Off a Partner Auditioning Exercise 12.6 Moment Before Exercise 12.7 Laughing at the Top Exercise 12.8 Portfolio Appendix A: Self-Directed Scene Study Appendix B: Glossary Bibliography Index