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 14
... create subconsciously and with inspira- tion . No such genius exists in the world . Therefore our art teaches us first of all to create consciously and rightly , because that will best prepare the way for the blossoming of the sub ...
... create subconsciously and with inspira- tion . No such genius exists in the world . Therefore our art teaches us first of all to create consciously and rightly , because that will best prepare the way for the blossoming of the sub ...
Page 15
... create the life of a human spirit , but also to ' express it in a beautiful , artistic form . ' An actor is under ... creates the life of the part , and also on his outer physical apparatus , which should reproduce the results of the ...
... create the life of a human spirit , but also to ' express it in a beautiful , artistic form . ' An actor is under ... creates the life of the part , and also on his outer physical apparatus , which should reproduce the results of the ...
Page 21
... creates his model in his im- agination , and then , just as does the painter , he takes every . feature of it and transfers it , not onto canvas ... create the illusion of real life ; therefore the theatre should WHEN ACTING IS AN ART 21.
... creates his model in his im- agination , and then , just as does the painter , he takes every . feature of it and transfers it , not onto canvas ... create the illusion of real life ; therefore the theatre should WHEN ACTING IS AN ART 21.
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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