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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... appear boundlessly confident before an audience . A tactless director whom they do not wholly admire , or whom they think prejudiced or personally hostile , can destroy their belief in themselves easily enough . Their knowledge is ...
... appear boundlessly confident before an audience . A tactless director whom they do not wholly admire , or whom they think prejudiced or personally hostile , can destroy their belief in themselves easily enough . Their knowledge is ...
Page 73
... appear behind the footlights before a public of a thousand people . That is why it is necessary to correct ourselves and learn again how to walk , move about , sit , or lie down . It is essential to re - educate ourselves to look and ...
... appear behind the footlights before a public of a thousand people . That is why it is necessary to correct ourselves and learn again how to walk , move about , sit , or lie down . It is essential to re - educate ourselves to look and ...
Page 93
... appears in public . He can rid himself of the pressure in his back , and it will go to his shoulder . Let him chase it away from there and it will appear in his diaphragm . Constantly in some place or other there will be pressure ...
... appears in public . He can rid himself of the pressure in his back , and it will go to his shoulder . Let him chase it away from there and it will appear in his diaphragm . Constantly in some place or other there will be pressure ...
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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