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 93
... body relaxed spon- taneously . She was transformed . Her body became light , her face became mobile and expressed her inner emotions vividly . Her feelings had gained a free outlet to the surface . " Just think : the pressure of one ...
... body relaxed spon- taneously . She was transformed . Her body became light , her face became mobile and expressed her inner emotions vividly . Her feelings had gained a free outlet to the surface . " Just think : the pressure of one ...
Page 95
... body that are unnecessarily tense . " I feel a contraction in my shoulder , neck , shoulder - blade , around my waist- " The places noted should then be immediately relaxed , and others searched out . I tried to do this simple exercise ...
... body that are unnecessarily tense . " I feel a contraction in my shoulder , neck , shoulder - blade , around my waist- " The places noted should then be immediately relaxed , and others searched out . I tried to do this simple exercise ...
Page 99
... body hung over the edge , his face was near the floor , and one arm was stretched out in front of him . You felt that he was ill at ease and that he did not know which muscles to flex and which to relax . Suddenly he exclaimed : " There ...
... body hung over the edge , his face was near the floor , and one arm was stretched out in front of him . You felt that he was ill at ease and that he did not know which muscles to flex and which to relax . Suddenly he exclaimed : " There ...
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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