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 1
... stage against the background of scenery , in make - up , in costume , behind footlights , with all the accessories . Only then , said he , will it be possible to judge our dramatic quality . At first only a few favoured the proposed ...
... stage against the background of scenery , in make - up , in costume , behind footlights , with all the accessories . Only then , said he , will it be possible to judge our dramatic quality . At first only a few favoured the proposed ...
Page 6
... stage lay open and bare . Only near the footlights there were a number of plain cane chairs , which were to outline our set . To the right there was a rack of lights . I had hardly stepped on to the stage when there loomed up in front ...
... stage lay open and bare . Only near the footlights there were a number of plain cane chairs , which were to outline our set . To the right there was a rack of lights . I had hardly stepped on to the stage when there loomed up in front ...
Page 7
... stage . I arrived early , and decided to prepare myself right on the stage , which today was quite different from yesterday . Work was humming , as properties and scenery were being placed . It would have been useless , amid all this ...
... stage . I arrived early , and decided to prepare myself right on the stage , which today was quite different from yesterday . Work was humming , as properties and scenery were being placed . It would have been useless , amid all this ...
Page 8
... stage , where a sketchy set had been arranged out of bits taken from various produc- tions . Some parts were wrong side up , and all the furniture was ill assorted . Nevertheless , the general appearance of the stage , now that it was ...
... stage , where a sketchy set had been arranged out of bits taken from various produc- tions . Some parts were wrong side up , and all the furniture was ill assorted . Nevertheless , the general appearance of the stage , now that it was ...
Page 10
... stage I was disturbed by the changes in the position of the furniture . In one place an armchair was unnaturally moved forward from the wall almost into the middle of the scene , and the table was too near the front . I seemed to be put ...
... stage I was disturbed by the changes in the position of the furniture . In one place an armchair was unnaturally moved forward from the wall almost into the middle of the scene , and the table was too near the front . I seemed to be put ...
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