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 v
... Imagination 59 5. Concentration of Attention 79 6. Relaxation of Muscles 103 7. Units and Objectives 121 8. Faith and a Sense of Truth 139 9. Emotion Memory 177 10. Communion 209 11. Adaptation 241 12. Inner Motive Forces 263 13. The ...
... Imagination 59 5. Concentration of Attention 79 6. Relaxation of Muscles 103 7. Units and Objectives 121 8. Faith and a Sense of Truth 139 9. Emotion Memory 177 10. Communion 209 11. Adaptation 241 12. Inner Motive Forces 263 13. The ...
Page 5
... imagination dried up , or have I no reserves of material ? Why did my work in the beginning move along so swiftly , and then stop at one spot ? As I was thinking things over , some people in the next room gathered for tea . In order not ...
... imagination dried up , or have I no reserves of material ? Why did my work in the beginning move along so swiftly , and then stop at one spot ? As I was thinking things over , some people in the next room gathered for tea . In order not ...
Page 8
... imagination I could recognize a certain similarity to my own room . But the minute the curtain rose , and the auditorium appeared before me , I again felt myself possessed by its power . At the same time some new unexpected sensations ...
... imagination I could recognize a certain similarity to my own room . But the minute the curtain rose , and the auditorium appeared before me , I again felt myself possessed by its power . At the same time some new unexpected sensations ...
Page 23
... imagination , and then , just as does the painter , he takes every feature of it and transfers it , not on to canvas , but on to himself . " ... He sees Tartuffe's costume and puts it on himself ; he notices his gait and imitates it ...
... imagination , and then , just as does the painter , he takes every feature of it and transfers it , not on to canvas , but on to himself . " ... He sees Tartuffe's costume and puts it on himself ; he notices his gait and imitates it ...
Page 30
... imagination with a false idea of a savage . All these methods of portraying feelings in general exist in every one of us . And they are used without any relation to the why , wherefore or circumstances in which a person has experienced ...
... imagination with a false idea of a savage . All these methods of portraying feelings in general exist in every one of us . And they are used without any relation to the why , wherefore or circumstances in which a person has experienced ...
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