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 2
... Iago , everything was decided . As we were leaving the theatre we were told that the first rehearsal was fixed for the next day . When I reached home , late , I took down my copy of Othello , settled myself comfortably on the sofa ...
... Iago , everything was decided . As we were leaving the theatre we were told that the first rehearsal was fixed for the next day . When I reached home , late , I took down my copy of Othello , settled myself comfortably on the sofa ...
Page 4
... Iago interest him . For me the externals were of greatest importance . They must remind me of my own room . Without this setting I could not get back my inspiration . Yet no matter how I struggled to make myself believe I was in my own ...
... Iago interest him . For me the externals were of greatest importance . They must remind me of my own room . Without this setting I could not get back my inspiration . Yet no matter how I struggled to make myself believe I was in my own ...
Page 5
Constantin Stanislavski. Iago , those flashes with my teeth , rollings of my eyes , which were to get me into my part ? Yet I could not break away from my fixed ideas of how to act the nature I conceived of as savage , nor even from the ...
Constantin Stanislavski. Iago , those flashes with my teeth , rollings of my eyes , which were to get me into my part ? Yet I could not break away from my fixed ideas of how to act the nature I conceived of as savage , nor even from the ...
Page 6
... Iago of Paul at all . Today it seemed as though I actually succeeded in fitting our scenes together . At any rate , I felt the discrep- ancies less sharply . 6 Today our rehearsal was on the big stage . I counted on the effect of its ...
... Iago of Paul at all . Today it seemed as though I actually succeeded in fitting our scenes together . At any rate , I felt the discrep- ancies less sharply . 6 Today our rehearsal was on the big stage . I counted on the effect of its ...
Page 11
... Iago , blood ! " I felt in these words all the injury to the soul of a trusting man . Leo's interpretation of Othello suddenly rose in my memory and aroused my emotion . Besides , it almost seemed as though for a moment the listeners ...
... Iago , blood ! " I felt in these words all the injury to the soul of a trusting man . Leo's interpretation of Othello suddenly rose in my memory and aroused my emotion . Besides , it almost seemed as though for a moment the listeners ...
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