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 11
... soul of a trusting man . Leo's interpretation of Othello suddenly rose in my memory and aroused my emotion . Besides , it almost seemed as though for a moment the listeners strained forward , and that through 11 The First Test.
... soul of a trusting man . Leo's interpretation of Othello suddenly rose in my memory and aroused my emotion . Besides , it almost seemed as though for a moment the listeners strained forward , and that through 11 The First Test.
Page 14
... it . " Fortunately there is a way out . We find the solution in an oblique instead of a direct approach . In the soul of a human being there are certain elements which are subject to consciousness and will . 14 An Actor Prepares.
... it . " Fortunately there is a way out . We find the solution in an oblique instead of a direct approach . In the soul of a human being there are certain elements which are subject to consciousness and will . 14 An Actor Prepares.
Page 15
... it all of his own soul . The fundamental aim of our art is the creation of this inner life of a human spirit , and its expression in an artistic form . " That is why we begin by thinking about the 15 When Acting Is an Art.
... it all of his own soul . The fundamental aim of our art is the creation of this inner life of a human spirit , and its expression in an artistic form . " That is why we begin by thinking about the 15 When Acting Is an Art.
Page 17
... soul is particularly important in our school of art . In order to express a most delicate and largely subconscious life it is necessary to have control of an unusually responsive , excellently prepared vocal and physical apparatus ...
... soul is particularly important in our school of art . In order to express a most delicate and largely subconscious life it is necessary to have control of an unusually responsive , excellently prepared vocal and physical apparatus ...
Page 21
... soul , both in himself and in his part . " " Nevertheless , it did help me to see how my exterior reflected my sensations , " Paul insisted . " Your own sensations , or the sensations prepared for your part ? " " My own , but applicable ...
... soul , both in himself and in his part . " " Nevertheless , it did help me to see how my exterior reflected my sensations , " Paul insisted . " Your own sensations , or the sensations prepared for your part ? " " My own , but applicable ...
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