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 21
... artist of the school of representation transfers it to himself . This work is concretely described by one of the ... artist , our creative nature . " Artists of the Coquelin school reason this way : The theatre is a convention , and the ...
... artist of the school of representation transfers it to himself . This work is concretely described by one of the ... artist , our creative nature . " Artists of the Coquelin school reason this way : The theatre is a convention , and the ...
Page 166
... artist takes the best that is in him and carries it over on the stage . The form will vary , according to the necessities of the play , but the human emotions of the artist will remain alive , and they cannot be replaced by anything ...
... artist takes the best that is in him and carries it over on the stage . The form will vary , according to the necessities of the play , but the human emotions of the artist will remain alive , and they cannot be replaced by anything ...
Page 290
... artist should make it his object , while he is on the stage , to centre his entire creative concentration on just the super - objective and through line of action , in their broadest and deepest meaning . If they are right all the rest ...
... artist should make it his object , while he is on the stage , to centre his entire creative concentration on just the super - objective and through line of action , in their broadest and deepest meaning . If they are right all the rest ...
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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