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Acknowledgments | p. viii |
Editor's introduction | p. ix |
Acting: The First Six Lessons | p. 1 |
Introduction | p. 1 |
The First Lesson: Concentration | p. 4 |
The Second Lesson: Memory of Emotion | p. 11 |
The Third Lesson: Dramatic Action | p. l2 |
The Fourth Lesson: Characterization | p. 31 |
The Fifth Lesson: Observation | p. 45 |
The Sixth Lesson: Rhythm | p. 53 |
The ôCreative Theatreö Lectures | p. 65 |
Introduction | p. 67 |
What is the theatre? | p. 71 |
What is a play? | p. 74 |
What is the audience? | p. 77 |
What is an actor? | p. 82 |
What is a theatrical designer? | p. 84 |
What is a theatrical composer? | p. 88 |
What is a collective work in a theatre? | p. 92 |
What is a theatrical performance? | p. 97 |
What is a mechanical performance? | p. 99 |
What is a creative theatrical performance? | p. 101 |
The qualifications of a creative actor | p. 103 |
What is the meaning of ôLiving the Part?ö | p. 105 |
What is ôSpiritual Concentration?ö | p. 107 |
What is the Spiritual or Affective Memory? | p. 114 |
How to use affective memory in preparing a part | p. 117 |
Boleslavsky lectures from the American Laboratory Theatre | p. 121 |
Lecture 3 | p. 123 |
Lecture 5 | p. 130 |
Lesson 6 | p. 137 |
Lecture 7 | p. 142 |
Lesson 8 | p. 150 |
Lesson 9 | p. 156 |
Lecture 10 | p. 164 |
Lecture 11 | p. 169 |
Notes on acting with Maria Ouspenskaya | p. 181 |
October 1954 | p. 183 |
November 1954 | p. 189 |
December 1954 | p. 195 |
January 1955 | p. 201 |
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