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 3
... artist's life , and he should retain the best possible impression of it . Today's rehearsal was spoiled by my carelessness ; let us hope that tomorrow's will be memorable . This evening I intended to go to bed early because I was afraid ...
... artist's life , and he should retain the best possible impression of it . Today's rehearsal was spoiled by my carelessness ; let us hope that tomorrow's will be memorable . This evening I intended to go to bed early because I was afraid ...
Page 15
... artist to carry out one of his main objectives . His job is not to present merely the external life of his character ... artistic form . " That is why we begin by thinking about the 15 When Acting Is an Art.
... artist to carry out one of his main objectives . His job is not to present merely the external life of his character ... artistic form . " That is why we begin by thinking about the 15 When Acting Is an Art.
Page 16
... said . " That is correct but not complete , " said Tortsov . " Our aim is not only to create the life of a human spirit , but also to ' express it in a beautiful , artistic form . ' An actor is under 16 An Actor Prepares.
... said . " That is correct but not complete , " said Tortsov . " Our aim is not only to create the life of a human spirit , but also to ' express it in a beautiful , artistic form . ' An actor is under 16 An Actor Prepares.
Page 17
Constantin Stanislavski. beautiful , artistic form . ' An actor is under the obligation to live his part inwardly , and then to give to his experience an external embodiment . I ask you to note especially that the dependence of the body ...
Constantin Stanislavski. beautiful , artistic form . ' An actor is under the obligation to live his part inwardly , and then to give to his experience an external embodiment . I ask you to note especially that the dependence of the body ...
Page 18
... artistic heights and thrill your audience . In such moments you are creating according to your inspiration , improvising , as it were ; but would you feel yourself capable enough , or strong enough spiritually or physically , to play ...
... artistic heights and thrill your audience . In such moments you are creating according to your inspiration , improvising , as it were ; but would you feel yourself capable enough , or strong enough spiritually or physically , to play ...
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