Action, task, supertask: "Action is the very basis of our art, and with it our creative work must begin."[1] Look at quotations on ruling idea and through action, esp. in reference to arrangement of An Actor's Work.[2]
Sense memory and Emotion memory:
Relationship between words and imagined visual images.[3]
Subtext discussed in chapter 8 of volume two.[4]
"Through imagination the actor can exercise a mental version of what we might now call virtual reality, wandering about the house in which the play is set and confronting specific characters."[5]
With the exception of a single mention, most references to Ribot were omitted from the American edition of Stanislavski's books.[6]
The process of experiencing is used to create the inner, psychological aspect of a role, endowing it with the actor's individual feelings and own personality.[7] Stanislavski argues that this creation of an inner life should be the actor's first concern.[8]
"If you find it hard to feel any attraction for miliary life, any feeling, enthusiasm for it, find an analogy. I would find this useful: suppose I had been forced to quit the theatre forever so that never again would I hear the bell before curtain-up, feel the backstage nerves, the excitement and expectation in the green room. If I had to say goodbye to all that in my mind, I know what feelings and experiences we would be talking about. Knowing the right colour, it would be easy for me to depict my feelings."[9]
- ^ Stanislavski, quoted by Magarshack (1950, 397).
- ^ Magarshack (1950, 372-373).
- ^ Magarshack (1950, 398).
- ^ Milling and Ley (2001, 21-22).
- ^ Milling and Ley (2001, 9-10).
- ^ Carnicke (1998, 72, 198n5). Eric Bentley indicated this omission in 1962.
- ^ Cite error: The named reference
s19was invoked but never defined (see the help page). - ^ Counsell (1996, 26-27) and Stanislavski (1938, 19)
- ^ Stanislavski (1957, 39).