An Actor Prepares |
From inside the book
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Page 29
... audience and did not play Katherine . You see Shakespeare did not write the Taming of the Shrew in order that a student by the name of Sonya Veliaminova could show the audience her little foot from the stage or could flirt with her ...
... audience and did not play Katherine . You see Shakespeare did not write the Taming of the Shrew in order that a student by the name of Sonya Veliaminova could show the audience her little foot from the stage or could flirt with her ...
Page 126
... audience severe ? " someone asked . " No , indeed . They are not carping , as you were . On the con- trary , an audience wishes , above all , to believe everything that happens on the stage . " 4 " We have had enough of theory , " said ...
... audience severe ? " someone asked . " No , indeed . They are not carping , as you were . On the con- trary , an audience wishes , above all , to believe everything that happens on the stage . " 4 " We have had enough of theory , " said ...
Page 248
... audience he may lose his self - possession from fright , embarrass- ment , shyness , agitation , a sense of overwhelming responsi- bility or unsurmountable difficulties . At that moment he is in- capable of speaking , listening ...
... audience he may lose his self - possession from fright , embarrass- ment , shyness , agitation , a sense of overwhelming responsi- bility or unsurmountable difficulties . At that moment he is in- capable of speaking , listening ...
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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