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. |
From inside the book
Results 1-5 of 54
Page
Constantin Stanislavski. AN ACTOR PREPARES CONSTANTIN STANISLAVSKI An Actor Prepares explores the inner preparation an actor must.
Constantin Stanislavski. AN ACTOR PREPARES CONSTANTIN STANISLAVSKI An Actor Prepares explores the inner preparation an actor must.
Page i
... preparation that precedes actual performance , with extensive discussions of Gogol's The Inspector General and Shake- speare's Othello . Sir Paul Scofield called Creating a Role " immeasurably important " for the actor . These three ...
... preparation that precedes actual performance , with extensive discussions of Gogol's The Inspector General and Shake- speare's Othello . Sir Paul Scofield called Creating a Role " immeasurably important " for the actor . These three ...
Page vii
... prepare the actor to present the externals of life and their inner repercussions with convincing psychological truthfulness . How was this long and difficult process to be put into a book ? Stanislavski felt the need of a freedom of ...
... prepare the actor to present the externals of life and their inner repercussions with convincing psychological truthfulness . How was this long and difficult process to be put into a book ? Stanislavski felt the need of a freedom of ...
Page 5
... 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 relating the one to the other . The words interfered with the acting ...
... 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 relating the one to the other . The words interfered with the acting ...
Page 7
... prepare myself right on the stage , which today was quite different from yesterday . Work was humming , as properties and scenery were being placed . It would have been useless , amid all this chaos , to try to find the quiet in which I ...
... prepare myself right on the stage , which today was quite different from yesterday . Work was humming , as properties and scenery were being placed . It would have been useless , amid all this chaos , to try to find the quiet in which I ...
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 |
Other editions - View all
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