Stanislavski's Legacy: A Collection of Comments on a Variety of Aspects of an Actor's Art and Life |
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Page 11
... person in real life . But to achieve that normal living state on stage is very difficult for an actor . In order to do it he has to be : ( a ) physically free , in control of free muscles ; ( b ) his attention must be infinitely alert ...
... person in real life . But to achieve that normal living state on stage is very difficult for an actor . In order to do it he has to be : ( a ) physically free , in control of free muscles ; ( b ) his attention must be infinitely alert ...
Page 15
... person possesses only his own clear - cut qualities , that a man is good , evil , intelligent , stupid , energetic , apathetic , etc. People are not like that . We can say of a man that he is more good than bad , more often intelligent ...
... person possesses only his own clear - cut qualities , that a man is good , evil , intelligent , stupid , energetic , apathetic , etc. People are not like that . We can say of a man that he is more good than bad , more often intelligent ...
Page 18
... person on earth who does not possess his own individual character . Even the most colourless person is distinguished by his character of utter lack of colour . That is why I propose for actors a complete inner and external metamorphosis ...
... person on earth who does not possess his own individual character . Even the most colourless person is distinguished by his character of utter lack of colour . That is why I propose for actors a complete inner and external metamorphosis ...
Contents
The LongHopedfor Child | 3 |
The Hard Job of Being an Actor | 9 |
On Being Truthful in Acting | 20 |
Copyright | |
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Other editions - View all
Stanislavski's Legacy: A Collection of Comments on a Variety of Aspects of ... Konstantin Stanislavsky No preview available - 1968 |
Stanislavski's Legacy: A Collection of Comments on a Variety of Aspects of ... Konstantin Stanislavsky No preview available - 1981 |
Common terms and phrases
achieve actor actress Anton Chekhov Art Theatre Artem artistic audience backstage beautiful began beginning character Cherry Orchard Constantin Stanislavski convey costume create creative critic curtain director drama dressing room emotions Eugene Onegin everything excitement expression external eyes face feelings footlights Gorki grotesque human Ibsen imagination impression inner laugh LEO TOLSTOY Lillian Gish Listen literary living look means melodrama memory method Mikhailov mind Molière Moscow Art Moscow Art Theatre nature objective Olga Knipper opera painter performance perhaps person phrase physical action Picard pince-nez play playwright production reason rehearsal remember repertory rhythm Rigoletto role scene designer Seagull Sevastopol someone soul spectator stage Stanislavski talent talk technique theatrical things thought Three Sisters tion train truth turn Uncle Vanya vaudeville Vishnevski voice whole words write Yalta young yourselves