An Actor Prepares |
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Page 16
... Othello there were only a few minutes in which you succeeded in living the part . I used them to illustrate to you , and to the other students , the foundations of our type of art . However , if we speak of the whole scene between Othello ...
... Othello there were only a few minutes in which you succeeded in living the part . I used them to illustrate to you , and to the other students , the foundations of our type of art . However , if we speak of the whole scene between Othello ...
Page 122
... Othello's dagger is made , be it steel or cardboard , but the inner feeling of the actor who can justify his suicide . What is important is how the actor , a human being , would have acted if the circumstances and conditions which ...
... Othello's dagger is made , be it steel or cardboard , but the inner feeling of the actor who can justify his suicide . What is important is how the actor , a human being , would have acted if the circumstances and conditions which ...
Page 280
... Othello . We prepared ourselves and played it with concentration and right inner feelings . " What are you intent on just now ? " Tortsov asked . " My first object is to attract Kostya's attention , " answered Paul . " I was ...
... Othello . We prepared ourselves and played it with concentration and right inner feelings . " What are you intent on just now ? " Tortsov asked . " My first object is to attract Kostya's attention , " answered Paul . " I was ...
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Common terms and phrases
actor adaptations adjustments Alan Schneider answer aroused artist asked the Director asked Tortsov attention audience began believe circle conscious create curtain Dasha direct elements emotion memory everything excitement exclaimed exercise exhibitionism experience expression external eyes feelings felt footlights fourth wall gestures give given circumstances Grisha hand happened human Iago imaginary imagination important inner creative inspiration Kostya light line of action living look Maria means mechanical acting method mind Molière moments mood muscles nature necessary object Othello Paul person physical actions play pose Prana purpose rehearsal remember role rubber stamps scene sensations sense of truth sitting soliloquy Sonya soul spectators spiritual stage stimulus subconscious suddenly suggested super-objective Suppose Tartuffe technique tell tenseness theatre theatrical things thought tion tried turn Vanya whole wish words yourselves