TABLE OF CONTENTS 
Animation leads to performance and performance is at the heart of the story. The animator s main aim should be to become invisible, leaving only the character and the performance behind.
In the previous chapter we looked at the issues and complexities of figurative animation and placed that type of dynamic action into a context within the four As of animation. While those aspects of animation covered in that chapter and the exercises set out were challenging, the subject of the chapter was clearly placed within the animation level of the four As of animation. We looked at how all the motivation for the movement came from within the figure and that one of the main aims within the animation was to make the figures appear as though they intended to move. We also covered the problems associated with the creation of believable figurative animation and we went on to discuss why the animation of familiar objects and figures is difficult simply because we are so familiar with them, we observe them regularly. In this part of the book we will begin to look at character interaction and the much more difficult task of acting. Achieving believable animation utilizing acting becomes even more difficult because we not only recognize how things move, but we also relate to how characters think and feel.
The one thing you must realize from the start is that you will not find simple, off-the-shelf solutions to your acting problems. Nowhere will you...
