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 i
... immeasurably important " for the actor . These three volumes belong on any actor's short shelf of essential books . This One N6D2 - FT9-4YFL AN ACTOR PREPARES Translated by Elizabeth Reynolds Hapgood A Theatre THE ACTING TRILOGY.
... immeasurably important " for the actor . These three volumes belong on any actor's short shelf of essential books . This One N6D2 - FT9-4YFL AN ACTOR PREPARES Translated by Elizabeth Reynolds Hapgood A Theatre THE ACTING TRILOGY.
Page vii
... actor to present the externals of life and their inner repercussions with convincing psychological truthfulness . How was this long and difficult process to be put into a book ? Stanislavski felt the need of a freedom of speech ...
... actor to present the externals of life and their inner repercussions with convincing psychological truthfulness . How was this long and difficult process to be put into a book ? Stanislavski felt the need of a freedom of speech ...
Page viii
... actors whether they happen to be born in Russia or Germany , in Italy , France , Poland , or America . Of the importance of such a working record , in order that the greatest of modern acting companies shall shed its beams as far and as ...
... actors whether they happen to be born in Russia or Germany , in Italy , France , Poland , or America . Of the importance of such a working record , in order that the greatest of modern acting companies shall shed its beams as far and as ...
Page 4
... fixed during my work at home would harmonize with the playing of Paul . For example , how could I introduce , into a comparatively quiet scene , between Othello and Iago , those flashes with my teeth , rollings of An Actor Prepares.
... fixed during my work at home would harmonize with the playing of Paul . For example , how could I introduce , into a comparatively quiet scene , between Othello and Iago , those flashes with my teeth , rollings of An Actor Prepares.
Page 5
... acting , and the acting with the words . When I worked at home today I still went over the old ground without finding anything new . Why do I keep on repeating the same scenes and methods ? Why is my acting of yesterday so exactly like ...
... acting , and the acting with the words . When I worked at home today I still went over the old ground without finding anything new . Why do I keep on repeating the same scenes and methods ? Why is my acting of yesterday so exactly like ...
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