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
Results 1-3 of 27
Page 168
... elements of all human characteristics , good and bad . An actor should use his art and his technique to discover , by natural means , those elements which it is necessary for him to develop for his part . In this way the soul of the ...
... elements of all human characteristics , good and bad . An actor should use his art and his technique to discover , by natural means , those elements which it is necessary for him to develop for his part . In this way the soul of the ...
Page 248
... elements disin- tegrate and separate . That , of course , is not normal . On the stage , as in real life , the elements should be indivisible . The difficulty is that work in the theatre contributes to make a creative mood unstable ...
... elements disin- tegrate and separate . That , of course , is not normal . On the stage , as in real life , the elements should be indivisible . The difficulty is that work in the theatre contributes to make a creative mood unstable ...
Page 277
... elements ' and ' inner creative state , ' in all your drills and exercises . " I want you to feel right from the start , if only for short periods , that blissful sensation which actors have when their creative faculties are functioning ...
... elements ' and ' inner creative state , ' in all your drills and exercises . " I want you to feel right from the start , if only for short periods , that blissful sensation which actors have when their creative faculties are functioning ...
Other editions - View all
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