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 29
... exhibitionism . At first it is harmless enough , but you must never forget that it has in it the seeds of great danger . You must struggle with it from the very first moment so that it may not develop habits which will cripple you as an ...
... exhibitionism . At first it is harmless enough , but you must never forget that it has in it the seeds of great danger . You must struggle with it from the very first moment so that it may not develop habits which will cripple you as an ...
Page 31
... exhibitionism and the strengthening of stereotyped methods . " In Grisha's case , he had really worked on his rubber stamps , with the result that they were more or less good ; but yours were bad because you had not worked them up ...
... exhibitionism and the strengthening of stereotyped methods . " In Grisha's case , he had really worked on his rubber stamps , with the result that they were more or less good ; but yours were bad because you had not worked them up ...
Page
... exhibitionism and the strengthening of stereotyped methods. “In Grisha's case, he had really worked on his rubber stamps, with the result that they were more or less good; but yours were bad because you had not worked them up. That is ...
... exhibitionism and the strengthening of stereotyped methods. “In Grisha's case, he had really worked on his rubber stamps, with the result that they were more or less good; but yours were bad because you had not worked them up. That is ...
Page 129
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Page 221
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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