# Book note of "Respect for Acting, Uta Hagen with Haskel Frankel" #acting #Booknote Wiley. John Wiley & Sons, Inc. 1973 Saved in Google Drive (PDF) ---- ## Content Page PART ONE : THE ACTOR Introduction 1. Concept 2. Identity 3. Substitution 4. Emotional memory 5. Sense Memory 6. The Five Senses 7. Thinking 8. Walking and Talking 9. Improvisation 10. Reality ## 1 CONCEPT **What is the difference between representational and presentational acting?** - The representational actor deliberately chooses to imitate or illustrate the character's behavior. The Presentational actor attempts to reveal human behavior through a use of himself, through an understanding of himself and consequently an understanding of the character he is portraying... The presentational actor trusts that a form will result from identification with the character and the discovery of his character's actions, and works on stage for a moment-to-moment subjective experience. - Page 12 **The effect of Internal acting is timeless, because it reflect human emotions** - External acting (representational) has a strong tendency to follow fashion. Internal acting (presentational) rejects fashion and consequently can become as timeless as human experience itself. - page 13 **What are the prerequisite of being an actor?** - "Talent, a combination of high sensitivity; easy vulnerability; high sensory equipment (seeing, hearing, touching, smelling, tasting - intensely); a vivid imagination as well as a grip of reality; the desire to communicate one's own experience and sensations, to make one's self heard and seen." page 13. [[202101122023 A baby shape his behavior accordingly to win attention from adults.]] - "...the homely baby must reach out to others and quickly learns from necessity to clown and do a hundred things to win attention. The homely baby learns what the actor must learn to stay through his art, "here i am, look at me!" Page 14. "Respect for Acting, Uta Hagen with Haskel Frankel" Wiley. John Wiley & Sons, Inc. 1973