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 46
... believe that , " argued the Director . " The man is only making believe . He understands the na- ture of his act , " said I. " If the man who plays the farmer has talent , he will prove to you by his acting that he is unconscious of any ...
... believe that , " argued the Director . " The man is only making believe . He understands the na- ture of his act , " said I. " If the man who plays the farmer has talent , he will prove to you by his acting that he is unconscious of any ...
Page 126
... believe in what you have seen and heard , and point out particularly the moments that were most convincing to you . " If the theatre - going public were as strict about truthfulness on the stage as you were here today in real life we ...
... believe in what you have seen and heard , and point out particularly the moments that were most convincing to you . " If the theatre - going public were as strict about truthfulness on the stage as you were here today in real life we ...
Page 231
... believe in something and all of our creative faculties would spring into action . " " Believe in what ? " was asked . " How should I know ? That is your affair . " " First we must create the life of a human spirit and then we can ...
... believe in something and all of our creative faculties would spring into action . " " Believe in what ? " was asked . " How should I know ? That is your affair . " " First we must create the life of a human spirit and then we can ...
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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