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 3
... sitting here waiting , our nerves on edge , angry , and ' it seems I am a little late ' . We all came here full of enthusiasm for the work waiting to be done , and now , thanks to you , that mood has been destroyed . To arouse a desire ...
... sitting here waiting , our nerves on edge , angry , and ' it seems I am a little late ' . We all came here full of enthusiasm for the work waiting to be done , and now , thanks to you , that mood has been destroyed . To arouse a desire ...
Page 35
... sitting on the stage . You are alone . You sit and sit and sit . ... At last the curtain comes down again . That is the whole play . Nothing simpler could be imagined , could it ? " Maria did not answer , so he took her by the arm and ...
... sitting on the stage . You are alone . You sit and sit and sit . ... At last the curtain comes down again . That is the whole play . Nothing simpler could be imagined , could it ? " Maria did not answer , so he took her by the arm and ...
Page 36
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Page 37
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Page 38
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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