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 25
... acting ; others made the spectators laugh by their lively activity , ballet jumps , desperate over - acting ; and ... Mechanical acting . To be sure , not bad of its kind , having rather elaborately worked out methods of presenting ...
... acting ; others made the spectators laugh by their lively activity , ballet jumps , desperate over - acting ; and ... Mechanical acting . To be sure , not bad of its kind , having rather elaborately worked out methods of presenting ...
Page 27
... mechanical actor the object of theatrical speech and plastic movements — as exaggerated sweetness in lyric moments ... Acting Is an Art.
... mechanical actor the object of theatrical speech and plastic movements — as exaggerated sweetness in lyric moments ... Acting Is an Art.
Page 28
... performance . Poor Vanya Vyuntsov came in for the worst of it . Tortsov did not recognize his acting as even mechanical . " What was it , then ? " said I. " The most repulsive kind of over - acting , " answered the Director . " I at ...
... performance . Poor Vanya Vyuntsov came in for the worst of it . Tortsov did not recognize his acting as even mechanical . " What was it , then ? " said I. " The most repulsive kind of over - acting , " answered the Director . " I at ...
Page 29
... mechanical acting , " said the Director . " Beginners like you , if you have talent , can accidentally , and for a short space of time , fill a role very well , but you cannot reproduce it in a sustained artistic form , and therefore ...
... mechanical acting , " said the Director . " Beginners like you , if you have talent , can accidentally , and for a short space of time , fill a role very well , but you cannot reproduce it in a sustained artistic form , and therefore ...
Page 30
... mechanical acting makes use of worked - out stencils to re- place real feelings , over - acting takes the first general human conventions that come along and uses them without even sharpening or preparing them for the stage . What ...
... mechanical acting makes use of worked - out stencils to re- place real feelings , over - acting takes the first general human conventions that come along and uses them without even sharpening or preparing them for the stage . What ...
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