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 8
... audience . This feeling of obligation inter- fered with my throwing myself into what I was doing . I began to feel hurried , both in speech and in action . My favourite places flashed by like telegraph poles seen from a train . The ...
... audience . This feeling of obligation inter- fered with my throwing myself into what I was doing . I began to feel hurried , both in speech and in action . My favourite places flashed by like telegraph poles seen from a train . The ...
Page 10
... audience , and wanted to know what I thought of his performance , but I could not tell him because although I had watched his bit I did not notice anything , because of my own excitement in waiting for my turn . He spoke familiarly ...
... audience , and wanted to know what I thought of his performance , but I could not tell him because although I had watched his bit I did not notice anything , because of my own excitement in waiting for my turn . He spoke familiarly ...
Page 12
... audience during the intermission . I chose a place in the orchestra from which I could easily be seen by the Director and his Assistant and sat down , in the hope that they would call me over and make some pleasant comment . The ...
... audience during the intermission . I chose a place in the orchestra from which I could easily be seen by the Director and his Assistant and sat down , in the hope that they would call me over and make some pleasant comment . The ...
Page 18
... 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 the five great acts of Othello with ...
... 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 the five great acts of Othello with ...
Page 32
... audience and did not play Katherine . You see Shakespeare did not write the Taming of the Shrew in order that a student by the name of Sonya Veliaminova could show the audience her little foot from the stage or could flirt with her ...
... audience and did not play Katherine . You see Shakespeare did not write the Taming of the Shrew in order that a student by the name of Sonya Veliaminova could show the audience her little foot from the stage or could flirt with her ...
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