Stanislavski's Legacy: Comments on Some Aspects of an Actor's Art and Life |
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Page 87
... Vishnevski , came out for the first time . Vishnevski , with his characteristically buoy- ant temperament , kept consoling Artem : ' No , no , Sasha , you aren't going to die ! Why should you die ? Look , look at the gulls , the sea ...
... Vishnevski , came out for the first time . Vishnevski , with his characteristically buoy- ant temperament , kept consoling Artem : ' No , no , Sasha , you aren't going to die ! Why should you die ? Look , look at the gulls , the sea ...
Page 102
... Vishnevski . The following year Chekhov arranged to spend the autumn in Moscow and go to Yalta only for the coldest months . And he actually did come to Moscow and spend some time there , but some- how this is a period which has not ...
... Vishnevski . The following year Chekhov arranged to spend the autumn in Moscow and go to Yalta only for the coldest months . And he actually did come to Moscow and spend some time there , but some- how this is a period which has not ...
Page 108
... Vishnevski . And even my time was more than up . I was supposed to leave to take a cure which had to be finished before the new season began . So poor Chekhov seemed destined to remain alone , but Vishnevski , who was sincerely fond of ...
... Vishnevski . And even my time was more than up . I was supposed to leave to take a cure which had to be finished before the new season began . So poor Chekhov seemed destined to remain alone , but Vishnevski , who was sincerely fond of ...
Contents
PART ONE In art you do not command | 13 |
PART TWO The value of any art is determined | 71 |
PART THREE My system is the result | 113 |
Copyright | |
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achieve actor actress Anton Chekhov Artem artistic audience backstage beautiful began beginning called character Cherry Orchard Constantin Stanislavski convey costume create creation creative critic curtain director Dostoyevski dramatic dressing-room emotions Eugene Onegin everything excitement expression external face feelings gesture girl Gorki grotesque happened human Ibsen imagination impression inner inspiration laugh Lillian Gish Listen literary living look make-up means melodrama memory Mikhailov Molière Moscow Art Theatre nature objective Olga Knipper opera painter performance person phrase physical action Picard pince-nez play playwright production reason rehearsal remember repertory rhythm Rigoletto role scene scene-designer Seagull Sevastopol singer someone soul spectator spiritual St Petersburg stage Stanislavski talent talk technique theatrical things thought Three Sisters tion train turn Uncle Vanya vaudeville Vishnevski voice whole words write Yalta young yourselves