An Actor Prepares |
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Page 256
Konstantin Sergeevič Stanislavskij. CHAPTER FIFTEEN The Super - Objective I TORTSOV began the lesson today with the following remarks : " Dostoyevski was impelled to write The Brothers Karamazov by his lifelong search for ... Super-Objective.
Konstantin Sergeevič Stanislavskij. CHAPTER FIFTEEN The Super - Objective I TORTSOV began the lesson today with the following remarks : " Dostoyevski was impelled to write The Brothers Karamazov by his lifelong search for ... Super-Objective.
Page 257
... super - objective himself , make it deeper and sharper . In doing that the name he gives to it will be extremely significant . " You already know how important it is to choose the right name for an objective . You remember that we found ...
... super - objective himself , make it deeper and sharper . In doing that the name he gives to it will be extremely significant . " You already know how important it is to choose the right name for an objective . You remember that we found ...
Page 284
... super - objective offhand , because they ' know the game ' and are ' old hands ' at it . But they are of no use to ... super - objec- tive we do need to arouse our inner natures , I shall put a number of questions and answer them . " Can ...
... super - objective offhand , because they ' know the game ' and are ' old hands ' at it . But they are of no use to ... super - objec- tive we do need to arouse our inner natures , I shall put a number of questions and answer them . " Can ...
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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