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
... nature and who are willing to undergo the necessary discipline . The book does include , again and again , state- ments of general principles of art , but the great task set for himself by the author has been the embodiment of those ...
... nature and who are willing to undergo the necessary discipline . The book does include , again and again , state- ments of general principles of art , but the great task set for himself by the author has been the embodiment of those ...
Page 5
... nature I conceived of as savage , nor even from the setting I had prepared . Perhaps the reason was that I had nothing to put in its place . I had read the text of the role by itself , I had played the character by itself , without ...
... nature I conceived of as savage , nor even from the setting I had prepared . Perhaps the reason was that I had nothing to put in its place . I had read the text of the role by itself , I had played the character by itself , without ...
Page 15
... nature , and address ourselves to what is within our reach . When the subconscious , when intuition , enters into our work we must know how not to interfere . " One cannot always create subconsciously and with inspiration . No such ...
... nature , and address ourselves to what is within our reach . When the subconscious , when intuition , enters into our work we must know how not to interfere . " One cannot always create subconsciously and with inspiration . No such ...
Page 16
... nature is dependent on the intelligence of an engineer . Our subconscious power cannot function without its own engineer — our conscious technique . It is only when an actor feels that his inner and outer life on the stage is flowing ...
... nature is dependent on the intelligence of an engineer . Our subconscious power cannot function without its own engineer — our conscious technique . It is only when an actor feels that his inner and outer life on the stage is flowing ...
Page 17
... nature brings forth . " I have pointed out to you today , in general outlines , what we consider essential . Our experience has led to a firm belief that only our kind of art , soaked as it is in the living experiences of human beings ...
... nature brings forth . " I have pointed out to you today , in general outlines , what we consider essential . Our experience has led to a firm belief that only our kind of art , soaked as it is in the living experiences of human beings ...
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