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 17
... acting . At such times your playing is lifeless , stilted . Consequently high moments alternate with over - acting . " 2 Today we heard some more from Tortsov about our acting . When he came to the classroom he turned to Paul and said ...
... acting . At such times your playing is lifeless , stilted . Consequently high moments alternate with over - acting . " 2 Today we heard some more from Tortsov about our acting . When he came to the classroom he turned to Paul and said ...
Page 23
... acting . " There can be no true art without living . It begins where feeling comes into its own . " " And mechanical acting ? " asked Grisha . " That begins where creative art ends . In mechanical acting there is no call for a living ...
... acting . " There can be no true art without living . It begins where feeling comes into its own . " " And mechanical acting ? " asked Grisha . " That begins where creative art ends . In mechanical acting there is no call for a living ...
Page 28
... acting grows into the worst kind of mechanical acting . " First try to avoid all incorrect approaches to your work , and to that end study the basis of our school of acting ; which is the basis of living your part . Second , do not ...
... acting grows into the worst kind of mechanical acting . " First try to avoid all incorrect approaches to your work , and to that end study the basis of our school of acting ; which is the basis of living your part . Second , do not ...
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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