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
... methods by which the Moscow Art Company was built up , in such a form that it could be of use to actors and producers after his death . The first time he mentioned this wish to me he spoke of the projected work as a grammar of acting ...
... methods by which the Moscow Art Company was built up , in such a form that it could be of use to actors and producers after his death . The first time he mentioned this wish to me he spoke of the projected work as a grammar of acting ...
Page viii
... methods best suited to mirror the modern world . There is no claim made here to actual invention . The author is most ready to point out that a genius like Salvini or Duse may use without theory the right emotions and expressions that ...
... methods best suited to mirror the modern world . There is no claim made here to actual invention . The author is most ready to point out that a genius like Salvini or Duse may use without theory the right emotions and expressions that ...
Page 5
... methods ? Why is my acting of yesterday so exactly like today's and tomorrow's ? Has my 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 ...
... methods ? Why is my acting of yesterday so exactly like today's and tomorrow's ? Has my 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 ...
Page 6
... method of acting , and even to the old business . I did not control my methods ; rather they controlled me . 5 Today's rehearsal brought nothing new . However , I am becoming more accustomed to the place where we work , and to the play ...
... method of acting , and even to the old business . I did not control my methods ; rather they controlled me . 5 Today's rehearsal brought nothing new . However , I am becoming more accustomed to the place where we work , and to the play ...
Page 7
... methods , I must have stopped at the very first lines . 7 Today we had a second rehearsal on the stage . I arrived early , and decided to prepare myself right on the stage , which today was quite different from yesterday . Work was ...
... methods , I must have stopped at the very first lines . 7 Today we had a second rehearsal on the stage . I arrived early , and decided to prepare myself right on the stage , which today was quite different from yesterday . Work was ...
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