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 4
... scenes and arrange the properties . Fortunately , Paul agreed to everything I proposed , as only the inner aspects of Iago interest him . For ... scene , between Othello and Iago , those flashes with my teeth , rollings of An Actor Prepares.
... scenes and arrange the properties . Fortunately , Paul agreed to everything I proposed , as only the inner aspects of Iago interest him . For ... scene , between Othello and Iago , those flashes with my teeth , rollings of An Actor Prepares.
Page 5
... scenes and 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 ...
... scenes and 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 ...
Page 6
... scenes together . At any rate , I felt the discrep- ancies less sharply . 6 Today our rehearsal was on the big stage . I counted on the effect of its atmosphere , and what happened ? Instead of the brilliancy of the footlights , and the ...
... scenes together . At any rate , I felt the discrep- ancies less sharply . 6 Today our rehearsal was on the big stage . I counted on the effect of its atmosphere , and what happened ? Instead of the brilliancy of the footlights , and the ...
Page 8
Constantin Stanislavski. I hurried down into the orchestra . Rehearsals of other scenes began . But I saw nothing . I was too full of excitement , waiting for my turn . There is a good side to this period of waiting . It drives you into ...
Constantin Stanislavski. I hurried down into the orchestra . Rehearsals of other scenes began . But I saw nothing . I was too full of excitement , waiting for my turn . There is a good side to this period of waiting . It drives you into ...
Page 10
... scene , and the table was too near the front . I seemed to be put on exhibition right in the most conspicuous place . Out of excitement I walked up and down and kept catching my dagger in the folds of my costume , and my knives on the ...
... scene , and the table was too near the front . I seemed to be put on exhibition right in the most conspicuous place . Out of excitement I walked up and down and kept catching my dagger in the folds of my costume , and my knives on the ...
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