An Actor Prepares |
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Page 117
... wish ' or ' I wish to do - so and so . ' " Take the word ' power ' as an example . Put ' I wish ' in front of it and you have ' I wish power . ' But that is too general . If you introduce something more definitely active , state a ...
... wish ' or ' I wish to do - so and so . ' " Take the word ' power ' as an example . Put ' I wish ' in front of it and you have ' I wish power . ' But that is too general . If you introduce something more definitely active , state a ...
Page 118
... wish to appear successful and wise in business , to create confidence . I wish to earn the affection of the public to be accounted powerful . I wish to distinguish myself , to rise in rank , to cause myself to be noticed . " The ...
... wish to appear successful and wise in business , to create confidence . I wish to earn the affection of the public to be accounted powerful . I wish to distinguish myself , to rise in rank , to cause myself to be noticed . " The ...
Page 257
... wish to strive for Sophy . ' There is a great deal in the plot that would confirm that definition . The drawback would be that in handling the play from that angle the theme of social denunciation would appear to have only an episodic ...
... wish to strive for Sophy . ' There is a great deal in the plot that would confirm that definition . The drawback would be that in handling the play from that angle the theme of social denunciation would appear to have only an episodic ...
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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