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 44
... answer it sincerely and definitely . " Consequently , the secret of the effect of if lies first of all in the fact ... answer to the question . You felt you must answer the challenge to action . " This important characteristic of if ...
... answer it sincerely and definitely . " Consequently , the secret of the effect of if lies first of all in the fact ... answer to the question . You felt you must answer the challenge to action . " This important characteristic of if ...
Page 62
... answer , since he has been addressed . If he responds thoughtlessly , I do not accept his answer . Then , in order to give a more satisfactory answer , he must either rouse his imagination or else approach the subject through his mind ...
... answer , since he has been addressed . If he responds thoughtlessly , I do not accept his answer . Then , in order to give a more satisfactory answer , he must either rouse his imagination or else approach the subject through his mind ...
Page 194
... answer . " I showed you myself , in a part , " Tortsov answered for us , " and I used the Figaro soliloquy for that purpose , its words , gestures , and everything that went with it . I did not show you the role itself , but myself in ...
... answer . " I showed you myself , in a part , " Tortsov answered for us , " and I used the Figaro soliloquy for that purpose , its words , gestures , and everything that went with it . I did not show you the role itself , but myself in ...
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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