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 7
... sensation of feeling quite at home on the big stage . But the nails were soon picked up , and again I became oppressed by the size of the place . I hurried down into the orchestra . Rehearsals of other 7 The First Test.
... sensation of feeling quite at home on the big stage . But the nails were soon picked up , and again I became oppressed by the size of the place . I hurried down into the orchestra . Rehearsals of other 7 The First Test.
Page 8
... sensations surged inside of me . The set hems in the actor . tor . It shuts off the backstage area . Above him are large dark spaces . At the sides are the wings that outline the room . This semi - isolation is pleasant , but a bad ...
... sensations surged inside of me . The set hems in the actor . tor . It shuts off the backstage area . Above him are large dark spaces . At the sides are the wings that outline the room . This semi - isolation is pleasant , but a bad ...
Page 21
... sensations , or the sensations prepared for your part ? " " My own , but applicable to Iago , " explained Paul . " Consequently , while you were working with the mirror , what interested you was not so much your exterior , your general ...
... sensations , or the sensations prepared for your part ? " " My own , but applicable to Iago , " explained Paul . " Consequently , while you were working with the mirror , what interested you was not so much your exterior , your general ...
Page 24
... Tortsov replied : " Everyone at every minute of his life must feel something . Only the dead have no sensations . It is important to know what you are feeling on the stage , because it often happens that even 24 An Actor Prepares.
... Tortsov replied : " Everyone at every minute of his life must feel something . Only the dead have no sensations . It is important to know what you are feeling on the stage , because it often happens that even 24 An Actor Prepares.
Page 63
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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