An Actor PreparesStanislavski's simple exercises fire the imagination, and help readers not only discover their own conception of reality but how to reproduce it as well. |
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Page 1
... Grisha Govorkov , who had already played in some small theatre ; a tall , beautiful blonde , called Sonya Veliami- nova ; and a lively , noisy chap named Vanya Vyuntsov . Gradually we all became accustomed to the idea of the coming try ...
... Grisha Govorkov , who had already played in some small theatre ; a tall , beautiful blonde , called Sonya Veliami- nova ; and a lively , noisy chap named Vanya Vyuntsov . Gradually we all became accustomed to the idea of the coming try ...
Page 25
... Grisha hastened to ask . " Mechanical acting . To be sure , not bad of its kind , having rather elaborately worked out methods of presenting the role with conven- tional illustrations . " I shall omit the long discussion raised by Grisha ...
... Grisha hastened to ask . " Mechanical acting . To be sure , not bad of its kind , having rather elaborately worked out methods of presenting the role with conven- tional illustrations . " I shall omit the long discussion raised by Grisha ...
Page 28
... Grisha , and you could never have had the time to create it . That is why you gave an exaggerated imitation of a savage , by means of the most amateurish kind of rubber stamps , in which there was no trace of technique . Even mechanical ...
... Grisha , and you could never have had the time to create it . That is why you gave an exaggerated imitation of a savage , by means of the most amateurish kind of rubber stamps , in which there was no trace of technique . Even mechanical ...
Page 31
... Grisha's case , he had really worked on his rubber stamps , with the result that they were more or less good ; but yours were bad because you had not worked them up . That is why I called his work rather decent mechanical acting , and ...
... Grisha's case , he had really worked on his rubber stamps , with the result that they were more or less good ; but yours were bad because you had not worked them up . That is why I called his work rather decent mechanical acting , and ...
Page
... Grisha's case, he had really worked on his rubber stamps, with the result that they were more or less good; but yours were bad because you had not worked them up. That is why I called his work rather decent mechanical acting, and the ...
... Grisha's case, he had really worked on his rubber stamps, with the result that they were more or less good; but yours were bad because you had not worked them up. That is why I called his work rather decent mechanical acting, and the ...
Contents
1 | |
13 | |
35 | |
Imagination | 59 |
Concentration of Attention | 79 |
Relaxation of Muscles | 103 |
Units and Objectives | 121 |
Faith and a Sense of Truth | 139 |
Communion | 209 |
Adaptation | 241 |
Inner Motive Forces | 263 |
The Unbroken Line | 271 |
The Inner Creative State | 281 |
The SuperObjective | 293 |
On the Threshold of Subconscious | 303 |
Emotion Memory | 177 |
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Common terms and phrases
actor adaptations adjustments answer aroused artist asked the Director asked Tortsov attention audience become began believe circle concentrate conscious create curtain Dasha direct elements emotion memory everything excitement exercise exhibitionism experience expression external eyes feelings felt footlights fourth wall give given circumstances Grisha hand happened human Iago imaginary imagination important impression inner creative inspiration Kostya light line of action living look Maria means mechanical acting method mind Molière moments mood muscles nature necessary object Othello ourselves Paul person physical actions play Prana prepared proscenium arch 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 turn uncon Vanya whole wish words