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 13
... Kostya Nazvanov said ' Blood , Iago , blood ! ' In both instances , you who were playing , and we who were watching , gave ourselves up completely to what was happening on the stage . Such successful moments , by themselves , we can ...
... Kostya Nazvanov said ' Blood , Iago , blood ! ' In both instances , you who were playing , and we who were watching , gave ourselves up completely to what was happening on the stage . Such successful moments , by themselves , we can ...
Page 20
... Kostya's acting . But I did not notice freshness in improvisation , or in feeling his part , in Paul's playing . On the contrary , I was astonished in a number of places by the accuracy and artistic finish of a form and method of acting ...
... Kostya's acting . But I did not notice freshness in improvisation , or in feeling his part , in Paul's playing . On the contrary , I was astonished in a number of places by the accuracy and artistic finish of a form and method of acting ...
Page 79
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Page 80
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Page 88
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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