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 vii
... felt the need of a freedom of speech , especially about the faults that harass actors , that he would not have if he used the names of his actual players , from Moskvin and Kachalov down to the very beginners , and therefore he decided ...
... felt the need of a freedom of speech , especially about the faults that harass actors , that he would not have if he used the names of his actual players , from Moskvin and Kachalov down to the very beginners , and therefore he decided ...
Page 2
... felt myself to be a genuine warrior . Yet my general aspect was modern and civilized , whereas Othello was African in origin and must have something suggestive of primitive life , perhaps a tiger , in him . In order to recall , suggest ...
... felt myself to be a genuine warrior . Yet my general aspect was modern and civilized , whereas Othello was African in origin and must have something suggestive of primitive life , perhaps a tiger , in him . In order to recall , suggest ...
Page 4
... felt in my own room . Worse than that , I didn't recognize my own voice . Besides , neither the setting nor the plan which I had fixed during my work at home would harmonize with the playing of Paul . For example , how could I introduce ...
... felt in my own room . Worse than that , I didn't recognize my own voice . Besides , neither the setting nor the plan which I had fixed during my work at home would harmonize with the playing of Paul . For example , how could I introduce ...
Page 6
... felt the discrep- ancies less sharply . 6 Today our rehearsal was on the big stage . I counted on the effect of its atmosphere , and what happened ? Instead of the brilliancy of the footlights , and the bustle of the wings filled with ...
... felt the discrep- ancies less sharply . 6 Today our rehearsal was on the big stage . I counted on the effect of its atmosphere , and what happened ? Instead of the brilliancy of the footlights , and the bustle of the wings filled with ...
Page 8
... felt at home in this room that had been prepared for Othello . By a great stretch of the imagination I could recognize a certain similarity to my own room . But the minute the curtain rose , and the auditorium appeared before me , I ...
... felt at home in this room that had been prepared for Othello . By a great stretch of the imagination I could recognize a certain similarity to my own room . But the minute the curtain rose , and the auditorium appeared before me , I ...
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