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. |
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... actors and for audiences - and without it an actor has very little chance to play the great parts . The actor , in these days , has often to make up his mind whether to be popular or to be a good actor . And often it is hard to gauge ...
... actors and for audiences - and without it an actor has very little chance to play the great parts . The actor , in these days , has often to make up his mind whether to be popular or to be a good actor . And often it is hard to gauge ...
Page 248
... actor has not freshened up a well- prepared but old role . Yet he should do this every time he re- creates it . Otherwise he is likely to go out onto the stage and present only a shell . " There is another possibility : the actor may ...
... actor has not freshened up a well- prepared but old role . Yet he should do this every time he re- creates it . Otherwise he is likely to go out onto the stage and present only a shell . " There is another possibility : the actor may ...
Page 252
... actor investigates to see which part is out of order . He finds the mistake and corrects it . Yet all the time he can easily continue to play his part even while he is observing himself . " Salvini said : ' An actor lives , weeps , and ...
... actor investigates to see which part is out of order . He finds the mistake and corrects it . Yet all the time he can easily continue to play his part even while he is observing himself . " Salvini said : ' An actor lives , weeps , and ...
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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