Acting for Animators
Autor Ed Hooksen Limba Engleză Paperback – 24 mai 2023
Hooks applies classical acting theory – from Aristotle to Stanislavsky and beyond – to animation, as well as explaining scene structure, character development and the connections between thinking, emotion and physical action. Theory presented here applies to any and all character animation regardless of style or animation technique. Whether your project is stop-motion, 2D, 3D or a blend of techniques, audiences are audiences are audiences, and they have shown up at the theater or cinema so they can experience and enjoy your story.
New to this fifth edition:
- Four new scene-by-scene acting analyses of animated feature films: Flee, Soul, Porco Rosso and The Triplets of Belleville
- A comprehensive and updated section titled "Classroom Notes" which includes a segment on experimental animation, a brief history of acting training for actors and guidance on Motion and Performance Capture technology
- Updated online database of Hooks' previous film analyses, all in one place
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Specificații
ISBN-13: 9781032266473
ISBN-10: 1032266473
Pagini: 244
Ilustrații: 96 Halftones, black and white; 96 Illustrations, black and white
Dimensiuni: 156 x 234 x 22 mm
Greutate: 0.93 kg
Ediția:5 ed
Editura: Taylor & Francis
Colecția Routledge
Locul publicării:Oxford, United Kingdom
ISBN-10: 1032266473
Pagini: 244
Ilustrații: 96 Halftones, black and white; 96 Illustrations, black and white
Dimensiuni: 156 x 234 x 22 mm
Greutate: 0.93 kg
Ediția:5 ed
Editura: Taylor & Francis
Colecția Routledge
Locul publicării:Oxford, United Kingdom
Public țintă
Professional Training and Undergraduate CoreCuprins
Preface
Introduction
Let’s Start with Definitions
Pursuing a negative objective
Empathy
Sympathy
Psychological gesture
Character rhythm
The audience
Who is your intended audience?
The 4th wall
Comedy vs. drama (intro)
Gags lack structure
Character development
References
Index
Introduction
Let’s Start with Definitions
Definition: Acting is behaving believably in pretend circumstances for a theatrical purpose.Structure
For a theatrical purpose
Action → Conflict/Obstacle → ObjectiveBaymax in a shopping cart
We are narrative-seeking, storytelling animals
Action
Objective
Long-term and short-term objectives
Pursuing a negative objective
Acting and the CG PipelineWilling suspension of disbelief and the Uncanny Valley
Animate the thought (acting is a process of exposing, not of hiding)
Regarding the animated documentaryEmotion
Empathy
Sympathy
Psychological gesture
Character rhythm
The audience
Who is your intended audience?
The 4th wall
Video referenceStoryboards vs. complete screenplays
Comedy vs. drama (intro)
Gags lack structure
Charlie Chaplin, Buster Keaton, Laurel & HardyShowreels
Character development
Heroes and villainsVideo games
Empathy vs. agency in gamesClassroom notes
Cutscenes (animatics)
Humor
Non-player characters (NPC's)
Character design and narrative
A few more thoughts about blinking in games
Scenes begin in the middle
Acting is doing; Acting is also reacting
Blinking
Eyebrows
Animating dialogue
Status transactions
Power centers
The adrenaline moment
"Ma"Regarding those talking dogs in Pixar’s movie UPExperimental animationLaban movement analysis
What does listening look like?
Pantomime
Anger and yelling
Punctuation in scripts
Crying
Drunk
My acting gift to you is a surprise
A scene is a negotiation
Relationships are the way that characters feel about one another
Mirrors
A brief history of acting training (for actors)Film AnalysisMocap
Animating aliens, robots and other non-humans
Flee"PSSSST . . . a few words, please, with animation teachers and mentors . . ."Grave of the firefliesSoulPorco RossoAnalysisThe Triplets of BellevilleIntroduction
Madame Souza
Training for the Tour de France
The Tour de France
The kidnapping
French wine center/the sinister crime
We meet the Triplets of Belleville
The rescue
Finale
Postscript
Classroom exercisesAddendum
Tightrope Exercise
Create a character profile
Open script exercise
The transformation game
Walt Disney’s 1935 memo to Don Graham regarding how to train animatorsConclusion
Ed Hooks annotates an animation master into "actor-ese" ...
Ed Hooks annotates a section from the book The Illusion of Life
Becoming an artistAcknowledgements
The future of animated storytelling
References
Index
Notă biografică
Ed Hooks was a professional actor for almost 30 years, trained in New York, with credits in all media. He is an internationally recognized acting teacher who has taught in over 35 countries, and he has written several books for actors. Hooks is the first person to apply classical acting theory to animated storytelling.
Recenzii
“Acting for Animators is written specifically for animation professionals and provides an essential primer for creating empathic and dynamic character performances and shows how the storytelling structure works. Not only will every animation professional benefit from reading this book, every animation student can use it as a basic tool for the foundation of their career.”
Nancy Denney-Phelps, Animation World Network, USA
Nancy Denney-Phelps, Animation World Network, USA
Descriere
Written specifically for animation professionals instead of stage and movie actors, this book's 5th edition provides an essential primer for creating empathetic and dynamic character performance and, in the process, shows how the strongest storytelling structure works.