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 17
... spectator and make both understand and also inwardly experience the happenings on the stage , enriching his inner life , and leaving impressions which will not fade with time . " Moreover , and this is of primary importance , the ...
... spectator and make both understand and also inwardly experience the happenings on the stage , enriching his inner life , and leaving impressions which will not fade with time . " Moreover , and this is of primary importance , the ...
Page 22
... spectators , " said Tortsov . " Actors of the school we are discussing do what you did . At first they feel the part , but when once they have done so they do not go on feeling it anew , they merely remember and repeat the external ...
... spectators , " said Tortsov . " Actors of the school we are discussing do what you did . At first they feel the part , but when once they have done so they do not go on feeling it anew , they merely remember and repeat the external ...
Page 25
... spectators laugh by their lively activity , ballet jumps , desperate over - acting ; and preened them- selves with beautiful gestures and poses ; in short , what they brought to the stage was not what was needed for the roles they were ...
... spectators laugh by their lively activity , ballet jumps , desperate over - acting ; and preened them- selves with beautiful gestures and poses ; in short , what they brought to the stage was not what was needed for the roles they were ...
Page 27
... spectators by them . He must have some supplementary means of arousing them , so he takes refuge in what we call theatrical emotions . These are a sort of artificial imitation of the periphery of physical feelings . great " If you ...
... spectators by them . He must have some supplementary means of arousing them , so he takes refuge in what we call theatrical emotions . These are a sort of artificial imitation of the periphery of physical feelings . great " If you ...
Page 29
... the exhibition performance you approached your role from the point of view of impressing the spectators . With what ? With true organic feelings , that corresponded to those of the person you 29 When Acting Is an Art.
... the exhibition performance you approached your role from the point of view of impressing the spectators . With what ? With true organic feelings , that corresponded to those of the person you 29 When Acting Is an Art.
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