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 12
... remember how I finished the scene , because the foot- lights and the black hole disappeared from my consciousness , and I was free of all fear . I remember that Paul was at first astonished by the change in me ; then he became infected ...
... remember how I finished the scene , because the foot- lights and the black hole disappeared from my consciousness , and I was free of all fear . I remember that Paul was at first astonished by the change in me ; then he became infected ...
Page 13
... remember , " said I , embarrassed by Tortsov's praise . " What ! You do not remember your own inner excitement ? You do not remember that your hands , your eyes and your whole body tried to throw themselves forward to grasp something ...
... remember , " said I , embarrassed by Tortsov's praise . " What ! You do not remember your own inner excitement ? You do not remember that your hands , your eyes and your whole body tried to throw themselves forward to grasp something ...
Page 21
... remember how pleased I was when I saw the correct reflection of what I felt , " Paul continued to reminisce . " You mean that you fixed these methods of expressing your feel- ings in a permanent form ? " Tortsov asked . " They became ...
... remember how pleased I was when I saw the correct reflection of what I felt , " Paul continued to reminisce . " You mean that you fixed these methods of expressing your feel- ings in a permanent form ? " Tortsov asked . " They became ...
Page 22
... remember and repeat the external movements , intonations , and expressions they worked on at first , making this repetition without emotion . Often they are extremely skilful in technique , and are able to get through a part with ...
... remember and repeat the external movements , intonations , and expressions they worked on at first , making this repetition without emotion . Often they are extremely skilful in technique , and are able to get through a part with ...
Page 32
... . Others do it to gain popularity or external success or to make a career . In our profession these are common phenomena and I hasten to restrain you from them . " Now remember firmly what I am going to tell 32 An Actor Prepares.
... . Others do it to gain popularity or external success or to make a career . In our profession these are common phenomena and I hasten to restrain you from them . " Now remember firmly what I am going to tell 32 An Actor Prepares.
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