But it does not have a paralyzing effect on him, does not make the necessary creative ease prevents active, useful work in the given circumstances.Stanislavsky saw the close interdependence between attention and action. Attention to the object, he download the film To kill a carp
and believed, is a natural need to do something with it. The action is more focusing on an object. Thus, attention, merging with action and mutually intertwined, creating strong links with the object.As an example, he told us the case, it would seem, far from acting practice. - In Moscow, visited the famous French aviator who demonstrated unparalleled in those years flying skill ... At a meeting with actors Moskvin pilot asked if he scared to fly. The Frenchman said: "I have no time to be afraid."And on stage, - concluded Stanislavski - if the actor operates logically and consistently, he had no time to think of a black hole portal, "once to fear." Stanislavski argued that the ability to focus on a simple, even primitive-looking action may be the key to the success of the big stage.For example, the success of the actress in the role of Lady Macbeth may well depend on how it will focus on how to wipe the blood stain. And Stanislavski beautifully shown us this. He first tried his hand to wipe imaginary spot - a spot left.Then he began to try to destroy it with a handkerchief pomoschyu87 - stain remains. Now he stepped up to him from all sides, the territory is strong, easy - the unfortunate stain persists. Spurred despair, he sought new ways worked himself to exhaustion, but did not cease to exist, although it seems he did not believe in success ...Came to life before our eyes a tragedy: we do not just understand, and, perhaps, felt what it means to be indelible spot in the given circumstances of the play. Stanislavsky subdivided stage attention to the external and internal. To appearance he included the ability to focus on the actors surrounding objects or objects.He called attention to the internal ability to concentrate on thoughts of visual images, visions created by the imagination. If the real material world surrounding the actor on the stage, requires a well- trained attention, for unstable imaginary objects, these requirements increase many times over.And since most of the life of an actor on stage takes place in the plane of fiction, invented in the given circumstances, Stanislavski stressed the particular importance and difficulty of mastering a particular internal attention. The most effective way to download the film To kill a carp
and train internal attention he believed all of the same pointless action.Naivety and Faith Learning subdue imagination, mastering his attention, at the same time the actor develops another highly desired him money - Stage naivety.According to Stanislavski, stage actor naivety supports faith in the reality of what is happening on stage, helps to overcome the conventional theater, relieves stiffness, awkwardness, contributes to the most immediate reaction to the words and actions of the partner.Like other human qualities, when they were added to the definition of "scenic", theatrical naivete is substantially different from life.