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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Page 19
... continued to reminisce . " You mean that you fixed these methods of expressing your feelings in a permanent form ? " Tortsov asked . " They became fixed by themselves through frequent repe- tition . " " Then in the end you worked out a ...
... continued to reminisce . " You mean that you fixed these methods of expressing your feelings in a permanent form ? " Tortsov asked . " They became fixed by themselves through frequent repe- tition . " " Then in the end you worked out a ...
Page 77
... continued his demonstration with electric lights today . " Up to now , " he said , " we have been dealing with objects in the form of points of light . Now I am going to show you a circle of attention . It will consist of a whole ...
... continued his demonstration with electric lights today . " Up to now , " he said , " we have been dealing with objects in the form of points of light . Now I am going to show you a circle of attention . It will consist of a whole ...
Page 276
... continued to sum up the results of our last lesson . He began : " Kostya gave you a practical demonstration of the way con- scious psycho - technique arouses the subconscious creativeness of nature . At first you might think that we had ...
... continued to sum up the results of our last lesson . He began : " Kostya gave you a practical demonstration of the way con- scious psycho - technique arouses the subconscious creativeness of nature . At first you might think that we had ...
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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