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. |
From inside the book
Results 1-5 of 48
Page 3
... and make myself into a Moor . As I sat in front of my mirror I admired at length the flash of my teeth . I learned how to show them off and how to turn my eyes until the white showed . In order to make the most of my 3 The First Test.
... and make myself into a Moor . As I sat in front of my mirror I admired at length the flash of my teeth . I learned how to show them off and how to turn my eyes until the white showed . In order to make the most of my 3 The First Test.
Page 8
... turn . There is a good side to this period of waiting . It drives you into such a state that all you can do is to long for your turn to get through with the thing that you are afraid of . When our turn did come I went up on to the stage ...
... turn . There is a good side to this period of waiting . It drives you into such a state that all you can do is to long for your turn to get through with the thing that you are afraid of . When our turn did come I went up on to the stage ...
Page 10
... turn . He spoke familiarly about the play and the role of Othello . He was especially interesting in his explanation of the sorrow , the shock , the amazement of the Moor , that such vice could exist in the lovely form of Desdemona ...
... turn . He spoke familiarly about the play and the role of Othello . He was especially interesting in his explanation of the sorrow , the shock , the amazement of the Moor , that such vice could exist in the lovely form of Desdemona ...
Page 11
... turn myself inside out , to give them everything I had ; yet inside of me I had never felt so empty . The effort to squeeze out more emotion than I had , the powerlessness to do the impossible , filled me with a fear that turned my face ...
... turn myself inside out , to give them everything I had ; yet inside of me I had never felt so empty . The effort to squeeze out more emotion than I had , the powerlessness to do the impossible , filled me with a fear that turned my face ...
Page 15
... turn of acting on psychic processes that are involuntary . " To be sure , this calls for extremely complicated creative work . It is carried on in part under the control of our consciousness , but a much more significant proportion is ...
... turn of acting on psychic processes that are involuntary . " To be sure , this calls for extremely complicated creative work . It is carried on in part under the control of our consciousness , but a much more significant proportion is ...
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 |
Other editions - View all
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