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 48
... circumstances , the de- velopment . The one cannot exist without the other , if it is to possess a necessary stimulating quality . However , their func- tions differ somewhat : if gives the push to dormant imagina- tion , whereas the ...
... circumstances , the de- velopment . The one cannot exist without the other , if it is to possess a necessary stimulating quality . However , their func- tions differ somewhat : if gives the push to dormant imagina- tion , whereas the ...
Page 60
... circumstances in the midst of which our exercise is played . Sec- ondly we must have a solid line of inner visions bound up with those circumstances , so that they will be illustrated for us . During every moment we are on the stage ...
... circumstances in the midst of which our exercise is played . Sec- ondly we must have a solid line of inner visions bound up with those circumstances , so that they will be illustrated for us . During every moment we are on the stage ...
Page 217
... circumstances , these adaptations lose all meaning . " So you see they can even be a dangerous temptation to an actor . There are whole roles that are permeated with oppor- tunities for misusing adaptations . Take Ostrovski's play ...
... circumstances , these adaptations lose all meaning . " So you see they can even be a dangerous temptation to an actor . There are whole roles that are permeated with oppor- tunities for misusing adaptations . Take Ostrovski's play ...
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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