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Additional Materials
- Various Notes
- On the Book ‘The Art of Living Onstage’
- On the Difference of the New School from Existing “Systems”
- Toward “Stepping on It” vs. “Let It”
- On the Second Threshold
- On Analysis and Synthesis
- What Do our Etudes Give Us? (These Exercises Have Everything)
- The Main Principle of the Method
- Assignment: Suggestion
- Fantasy and Imagination
- On the Distance of the Imaginary
- Fantasy (see Affects, Admitting, In Statu Nascendi [“In the State of Being Born” (Latin)], Emotionally-Tactile (Imaginative) Reading)
- Additions to the Chapter on “Circumstances”
- Why Are Circumstances Used Minimally and Improperly?
- Circumstances and Facts in the Director’s and Pedagogue’s Work
- Circumstances and Facts in the Actor’s Work
- The Impelling Significance of Circumstances (Facts)
- Crude Reactions
- Short Circuiting
- Conditions Evocative of Crude and Other Primitive Reactions
- Psychological Stability and Spiritual Balance: A Necessary Quality for an Actor of the School of “Living Onstage”
- The Harmonizing and Strengthening Power of the Audience
- On Work at Home
- Homework
- The Dangers of Working at Home (and also, on “Scene Study”)
- On the Necessity of the Teacher’s Training
- On Evaluated Showings and Other Topics
- Note
Abstract
This is only the freshman year – it’s the basics. However, with these basics missing – there cannot be a second, third, and fourth year. Without these basics, there is no art . True, talent trumps the inaccurate “school.” But the majority of actors perish, and the lucky few emerge “invalids.”
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