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 6-10 of 52
Page 19
... " In it the actor also lives his part , " said Tortsov . " This partial identity with our method is what makes it possible to consider this other type also true art . " Yet his objective is different . He lives his 19 When Acting Is an Art.
... " In it the actor also lives his part , " said Tortsov . " This partial identity with our method is what makes it possible to consider this other type also true art . " Yet his objective is different . He lives his 19 When Acting Is an Art.
Page 20
... method of acting which is perma- nently fixed , and which is produced with a certain inner coldness . However , I did feel in those moments that the original , of which this was only the artificial copy , had been good and true . This ...
... method of acting which is perma- nently fixed , and which is produced with a certain inner coldness . However , I did feel in those moments that the original , of which this was only the artificial copy , had been good and true . This ...
Page 21
... methods of expressing your feel- ings in a permanent form ? " Tortsov asked . " They became fixed by themselves through frequent repeti- tion . " " Then in the end you worked out a definite external form for the interpretation of ...
... methods of expressing your feel- ings in a permanent form ? " Tortsov asked . " They became fixed by themselves through frequent repeti- tion . " " Then in the end you worked out a definite external form for the interpretation of ...
Page 25
... methods of presenting the role with conven- tional illustrations . " I shall omit the long discussion raised by Grisha , and jump directly to the explanation by Tortsov of the boundaries which divide true art from mechanical acting ...
... methods of presenting the role with conven- tional illustrations . " I shall omit the long discussion raised by Grisha , and jump directly to the explanation by Tortsov of the boundaries which divide true art from mechanical acting ...
Page 26
... methods of diction and speech . ( For instance , exaggeratedly high or low tones at critical moments in the role , done with specifically theatrical ' tremolo , ' or with special declamatory vocal embellishments . ) There are also methods ...
... methods of diction and speech . ( For instance , exaggeratedly high or low tones at critical moments in the role , done with specifically theatrical ' tremolo , ' or with special declamatory vocal embellishments . ) There are also methods ...
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