An Actor PreparesThis work is the first volume of Stanislavski's trilogy on the art of acting; it explains the art of acting in semi-fiction form. Fusing psychological realism and expressionism, his exploratory exercises teach actors to evoke past emotions that draw out their vulnerability. Stanislavski here introduces such concepts as the "magic if," "emotion memory," the "unbroken line" and many more now famous rehearsal aids. This classic manual is written from the viewpoint of fictional actors taking lessons from a director (based on Stanislavski). Through the student's mistakes, questions, revelations, and struggles, Stanislavski teaches the actor about the stage, truth, and life itself. |
From inside the book
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Page 56
... Suppose the surroundings , the teacher , the students , remain as they are . Now with my magic if I shall put myself on the plane of make - believe , by changing one circumstance only : the hour of the day . I shall say , it is not ...
... Suppose the surroundings , the teacher , the students , remain as they are . Now with my magic if I shall put myself on the plane of make - believe , by changing one circumstance only : the hour of the day . I shall say , it is not ...
Page 85
... suppose that you are looking at this non - existent fourth wall . It is very near . How should your eyes focus ? Almost at the same angle as if you were looking at the tip of your nose . That is the only way in which you can fix your ...
... suppose that you are looking at this non - existent fourth wall . It is very near . How should your eyes focus ? Almost at the same angle as if you were looking at the tip of your nose . That is the only way in which you can fix your ...
Page 241
... suppose that they will be . Then you must have some idea about the rest of the day . Don't you feel that solid line as it stretches out into the future , fraught with cares , responsibilities , joys and griefs ? " In looking ahead there ...
... suppose that they will be . Then you must have some idea about the rest of the day . Don't you feel that solid line as it stretches out into the future , fraught with cares , responsibilities , joys and griefs ? " In looking ahead there ...
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Common terms and phrases
actor adaptations adjustments answer arouse artist asked the Director asked Tortsov attention audience began believe circle conscious create Dasha direct elements emotion memory everything excitement exercise exhibitionism experience expression external eyes feelings felt footlights fourth wall give given circumstances Grisha hand happened human Iago imaginary imagination important inner creative inspiration JOHN GIELGUD Kostya light line of action living look Maria means mechanical acting method mind Molière moments mood muscles nature necessary object Othello ourselves Paul person physical actions play pose Prana rehearsal remember role rubber stamps scene sensations sense of truth sitting soliloquy Sonya soul spectators spiritual stage Stanislavski stimulus subconscious suddenly suggested super-objective Suppose Tartuffe technique tell tenseness theatre theatrical theme things thought tion tried turn Vanya whole wish words