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 viii
... give for detailed notes of how Molière rehearsed his own plays , —rehearsals of which echoes , true or outworn , remain in the Comédie Française ? Or could the value be estimated a full picture of Shakespeare in the theatre , drilling ...
... give for detailed notes of how Molière rehearsed his own plays , —rehearsals of which echoes , true or outworn , remain in the Comédie Française ? Or could the value be estimated a full picture of Shakespeare in the theatre , drilling ...
Page 1
... give a performance in which we should act bits from plays chosen by us . His purpose is to see us on the stage against the background of scenery , in make - up , in costume , behind footlights , with all the accessories . Only then ...
... give a performance in which we should act bits from plays chosen by us . His purpose is to see us on the stage against the background of scenery , in make - up , in costume , behind footlights , with all the accessories . Only then ...
Page 11
... give them everything I had ; yet inside of me I had never felt so empty . The effort to squeeze out more emotion than I had , the powerlessness to do the impossible , filled me with a fear that turned my face and my hands to stone . All ...
... give them everything I had ; yet inside of me I had never felt so empty . The effort to squeeze out more emotion than I had , the powerlessness to do the impossible , filled me with a fear that turned my face and my hands to stone . All ...
Page 17
... give to his experience an external embodiment . I ask you to note especially that the dependence of the body on the soul is particularly important in our school of art . In order to express a most delicate and largely subconscious life ...
... give to his experience an external embodiment . I ask you to note especially that the dependence of the body on the soul is particularly important in our school of art . In order to express a most delicate and largely subconscious life ...
Page 22
... give the right performance if they merely recall how they did it when they first got it right . This is applicable in some degree to the places we picked out in your playing of Iago . Try to remember what happened as you went on with ...
... give the right performance if they merely recall how they did it when they first got it right . This is applicable in some degree to the places we picked out in your playing of Iago . Try to remember what happened as you went on with ...
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