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 14
... feelings found expression ? " which " No , I admit I couldn't . " " You were acting with your subconscious ... feeling , and especially he should feel the thing he is portraying . He must feel an emotion not only once or twice while he ...
... feelings found expression ? " which " No , I admit I couldn't . " " You were acting with your subconscious ... feeling , and especially he should feel the thing he is portraying . He must feel an emotion not only once or twice while he ...
Page 16
... feelings that are analogous to it , each and every time you repeat the process of creating it . " " Why is the subconscious so dependent on the conscious ? " said I. " It seems entirely normal to me , " was the reply . " The use of ...
... feelings that are analogous to it , each and every time you repeat the process of creating it . " " Why is the subconscious so dependent on the conscious ? " said I. " It seems entirely normal to me , " was the reply . " The use of ...
Page 17
... feelings with great sensitiveness and directness . That is why an actor of our type is obliged to work so much more than others , both on his inner equipment , which creates the life of the part , and also on his outer physical ...
... feelings with great sensitiveness and directness . That is why an actor of our type is obliged to work so much more than others , both on his inner equipment , which creates the life of the part , and also on his outer physical ...
Page 20
... feelings at the exhibition performance ! " I maintained . Someone else agreed with me , and insisted that in Paul's acting , just as in mine , there had been a few scattered moments of truly living the part , mixed with a lot of ...
... feelings at the exhibition performance ! " I maintained . Someone else agreed with me , and insisted that in Paul's acting , just as in mine , there had been a few scattered moments of truly living the part , mixed with a lot of ...
Page 23
... feelings . Without all this you will have no art . " When , from this material , a living image of the role emerges ... feeling . " Yes , Coquelin himself admits it . He says : " The actor does not live , he plays . He remains cold ...
... feelings . Without all this you will have no art . " When , from this material , a living image of the role emerges ... feeling . " Yes , Coquelin himself admits it . He says : " The actor does not live , he plays . He remains cold ...
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