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Summary of Melissa Bruder's A Practical Handbook for the Actor
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- FormatePub
- ISBN8350029185
- EAN9798350029185
- Date de parution17/09/2022
- Protection num.Digital Watermarking
- Taille1 Mo
- Infos supplémentairesepub
- ÉditeurA PRECISER
Résumé
Please note: This is a companion version & not the original book.
Sample Book Insights:
#1 The actor must understand that it is not his job to create magical moments, but rather to put himself in the best possible condition to participate in the play at hand. He must understand which aspects of his performance are within his control and which are not, and then devote himself to correcting those things within his control.
#2 The actor must understand that it is not his job to create magical moments, but rather to put himself in the best possible condition to participate in the play. He must understand which aspects of his performance are within his control and which are not, and then devote himself to correcting those things within his control. #3 The actor must understand that it is not his job to create magical moments, but rather to put himself in the best possible condition to participate in the play.
#2 The actor must understand that it is not his job to create magical moments, but rather to put himself in the best possible condition to participate in the play. He must understand which aspects of his performance are within his control and which are not, and then devote himself to correcting those things within his control. #3 The actor must understand that it is not his job to create magical moments, but rather to put himself in the best possible condition to participate in the play.
Please note: This is a companion version & not the original book.
Sample Book Insights:
#1 The actor must understand that it is not his job to create magical moments, but rather to put himself in the best possible condition to participate in the play at hand. He must understand which aspects of his performance are within his control and which are not, and then devote himself to correcting those things within his control.
#2 The actor must understand that it is not his job to create magical moments, but rather to put himself in the best possible condition to participate in the play. He must understand which aspects of his performance are within his control and which are not, and then devote himself to correcting those things within his control. #3 The actor must understand that it is not his job to create magical moments, but rather to put himself in the best possible condition to participate in the play.
#2 The actor must understand that it is not his job to create magical moments, but rather to put himself in the best possible condition to participate in the play. He must understand which aspects of his performance are within his control and which are not, and then devote himself to correcting those things within his control. #3 The actor must understand that it is not his job to create magical moments, but rather to put himself in the best possible condition to participate in the play.
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