ABSTRACT

‘Every scene or action or speech has a so therefore. It is the goal, the ultimate statement of the character. You should know the so therefore as you begin your scene ... The climax and the payoff is the so therefore.’ – from Al Ruscio’s Preface 

When working through a scene with a student, renowned actor and acting teacher Al Ruscio will ask, ‘so therefore, what?’ to urge them to capture the specific actions and desires that define their character at that moment. So Therefore… interweaves tried-and-tested practical exercises with sound advice, and illustrative tales from Ruscio’s remarkable career, to form a training handbook as uniquely pragmatic as his favourite phrase. Breaking down his method into three broad focuses, Ruscio considers:

  • Warming Up – including relaxation, going ‘beneath the words’ and emotional recall;
  • Scene Work – ranging from character analysis to an exploration of action;
  • The Play – discovering its spine, progressing through rehearsals and sustaining a performance.

But So Therefore… also reflects wisely on such diverse subjects as Stage versus Film, and Stamina, Luck and Chutzpah. Enriching and generous, it is the culmination of a career that has taken in dozens of major motion pictures, and spans the entire history of television – as well as half a century spent training actors.

Al Ruscio graduated from the famed Neighborhood Playhouse School of the Theatre and has been teaching acting for five decades. He has served on the Board of Directors of the Screen Actors Guild and is a current voting member of the Academy of Motion Picture Arts and Sciences.

part 1|37 pages

Warming Up

chapter 1|2 pages

Introduction

chapter 2|2 pages

Relaxation

chapter 3|3 pages

Concentration

chapter 4|3 pages

Imagination

chapter 5|2 pages

Beneath The Words

chapter 6|5 pages

Sensory Exercises

chapter 7|4 pages

Improvisation

chapter 8|2 pages

Animal Studies

chapter 9|9 pages

Life Studies

chapter 10|3 pages

Emotional Recall

part 2|36 pages

Scene Work

chapter 11|2 pages

Character Analysis

chapter 12|2 pages

The Spine of the Play

chapter 13|2 pages

The Spine of the Character

chapter 14|6 pages

Your Objective in The Scene

chapter 15|5 pages

Your Actions in the Scene

chapter 16|7 pages

The as If

chapter 17|7 pages

Preparation

chapter 18|3 pages

Scenes

part 3|36 pages

The Play

chapter 19|1 pages

Introduction

chapter 20|1 pages

Read The Play

chapter 21|2 pages

The Main Idea and Special Quality

chapter 22|2 pages

The Climax

chapter 23|1 pages

Character Analysis

chapter 24|2 pages

The Spine of Your Character

chapter 25|2 pages

Rehearsals Begin

chapter 26|2 pages

Elements of Characterization

chapter 27|3 pages

The Use of Improvisation

chapter 28|3 pages

Blocking Sessions

chapter 29|2 pages

Detailed Work on Each Act

chapter 30|3 pages

Run-Throughs

chapter 31|3 pages

Final Run-Throughs

chapter 32|2 pages

Dress Rehearsals

chapter 33|1 pages

Opening Night

chapter 34|4 pages

… And Beyond

part 4|12 pages

Stage Versus Film

chapter 35|2 pages

Projecting Versus Being

chapter 36|6 pages

The Scene Versus The Shot

chapter 37|2 pages

Opposing Views

part 5|16 pages

Stamina, Luck, and Chutzpah, and Other Lessons

chapter 38|4 pages

Stamina, Luck, and Chutzpah

chapter 39|5 pages

Remembering Lear

chapter 40|3 pages

The Semi-Final Lesson

chapter 41|2 pages

The Final Lesson