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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... become old fashioned and stilted on the one hand or slapdash and newfangled on the other . The basic craftsmanship - the five - finger exercises , the physical dexterity , the quickness of eye and hand and lips , these things are not ...
... become old fashioned and stilted on the one hand or slapdash and newfangled on the other . The basic craftsmanship - the five - finger exercises , the physical dexterity , the quickness of eye and hand and lips , these things are not ...
Page 94
... becomes a mechanical habit , it will be necessary to give a lot of thought to it , and that will detract from our creative work . Later , this relaxing of the muscles should become a normal phenomenon . This habit should be developed ...
... becomes a mechanical habit , it will be necessary to give a lot of thought to it , and that will detract from our creative work . Later , this relaxing of the muscles should become a normal phenomenon . This habit should be developed ...
Page 262
... become eternal if it deals with ques- tions of freedom , justice , love , happiness , great joy , great suf- fering . I make no objection to that kind of modernity in the work of a playwright . " In absolute contrast , however , is ...
... become eternal if it deals with ques- tions of freedom , justice , love , happiness , great joy , great suf- fering . I make no objection to that kind of modernity in the work of a playwright . " In absolute contrast , however , is ...
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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