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 34
... action . Why is it action to sit in a chair , as you did , without moving a finger ? To me it looked like complete lack of action . " I interrupted boldly : " I do not know whether it was action or inaction , but all of us are agreed ...
... action . Why is it action to sit in a chair , as you did , without moving a finger ? To me it looked like complete lack of action . " I interrupted boldly : " I do not know whether it was action or inaction , but all of us are agreed ...
Page 117
... action , but it is not true , full integrated action . What you describe is theatrical and representational , and as such is not art in our sense . " Then he went on to explain : “ If , instead of a noun we use a verb , let us see what ...
... action , but it is not true , full integrated action . What you describe is theatrical and representational , and as such is not art in our sense . " Then he went on to explain : “ If , instead of a noun we use a verb , let us see what ...
Page 133
... actions . Perhaps you do not even yet realize that from believing in the truth . of one small action an actor can come to feel himself in his part and to have faith in the reality of a whole play . " I could quote innumerable instances ...
... actions . Perhaps you do not even yet realize that from believing in the truth . of one small action an actor can come to feel himself in his part and to have faith in the reality of a whole play . " I could quote innumerable instances ...
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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