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 91
... effort , rested for a moment , recalled the questions put to him , let them sink into his consciousness , and then began to respond to them , calling up each required sensation . After that he renewed his muscular effort , and with ...
... effort , rested for a moment , recalled the questions put to him , let them sink into his consciousness , and then began to respond to them , calling up each required sensation . After that he renewed his muscular effort , and with ...
Page 92
Konstantin Stanislavsky. muscular effort , and with difficulty lifted one corner of the piano . " So you see , " said ... effort . She was worked over from the point of view of loosening up her muscles , but with only partial success ...
Konstantin Stanislavsky. muscular effort , and with difficulty lifted one corner of the piano . " So you see , " said ... effort . She was worked over from the point of view of loosening up her muscles , but with only partial success ...
Page 186
... effort to take in those feelings and those thoughts . " When the spectator is present during such an emotional and intellectual exchange , he is like a witness to a conversation . He has a silent part in their exchange of feelings , and ...
... effort to take in those feelings and those thoughts . " When the spectator is present during such an emotional and intellectual exchange , he is like a witness to a conversation . He has a silent part in their exchange of feelings , and ...
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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