by Sonia Moore
poetry, 64–65
“private moments,” 30n
props, 14, 17–19, 26, 67
psychophysical process, 26, 33–34, 39, 44, 47, 52, 53, 57, 62, 71, 79
public solitude, 30
Pushkin, Alexander, 60
rehearsals, 74
reincarnation, 61, 78, 80, See also character
relaxation of muscles, 53
rhythm, see tempo-rhythm
Ribot, Théodule-Armand, 41
Rosmersholm (Ibsen), 80
Salvini, Tomasso, 65
Schiller, Johann, 15, 67; Turandot, 85–87
Sechenov, I. M., 17
“second plan,” 60, 65
sets, 14, 26, 75, 80
Shakespeare, William, 7, 15, 66, 70
Shchepkin, Mikhail, 6, 62
silence, 20, 23, 71
Simonov, P. V.: The Method of K. S. Stanislavski and the Physiology of Emotions, 12
simplicity, 7, 13
singing and musical training, 64
sound: and concentration, 31, 32, 37
sound effects, 14, 26
speech and voice training, 13, 52–53, 54, 58; singing and musical comedy, 64
Strindberg, August: Erik XIV, 83
struggle and conflict, 63, 73; for individual character, 48, 63; tempo-rhythm, 41. See also adaptations (adjustments)
subconscious creativity, 10–11, 14, 17, 18, 39, 53–54, 65, 81. See also improvisation; inspiration
subtext, 7, 28, 48, 57, 68–72
Sulerzhitski, Leopold Antonovich, 77, 78, 79
super-objective, 7, 49–51, 57, 69
super-super-objective, 75
Talma, François, 15
tempo-rhythm, 7, 20, 40–41, 57, 73
tension, muscular, 53
through line of actions, 50, 57, 69
“today, here, now,” 11, 66
Tovstonogov, G. A., 20
truth, 32–34, 87, 88; of actions, 7, 13, 29, 39, 40, 41, 53, 54, 56–57, 61, 68, 74; of emotions, 33–34, 84
Turandot (Gozzi and Schiller), 85–87
Vakhtangov, Eugene Bogrationovich, 5, 67, 77–90
Vakhtangov Studio (Third Studio), 80, 82, 85, 86
Vakhtangov Theater, 80
verbal actions, 20, 47–48, 58–59, 69, 70
voice training, see speech and voice training
Wedding, The (Chekhov), 82
Zaitsev, Boris: Lanin’s Estate, 80
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