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 4
... believe I was in my own room all my efforts did not convince me . They merely interfered with my acting . Paul already knew the whole of his role by heart , but I had to read my lines out of the book , or else to get by with ...
... believe I was in my own room all my efforts did not convince me . They merely interfered with my acting . Paul already knew the whole of his role by heart , but I had to read my lines out of the book , or else to get by with ...
Page 29
... believe that the Moors , who in their day were renowned for culture , were like wild animals , pacing up and down a cage ? The savage that you portrayed , even in the quiet conversation with his ancient , roared at him , showed his ...
... believe that the Moors , who in their day were renowned for culture , were like wild animals , pacing up and down a cage ? The savage that you portrayed , even in the quiet conversation with his ancient , roared at him , showed his ...
Page 42
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Page 46
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Page 50
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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