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
... emotions ' mean ? " " Just what it says - living human emotions , feelings which the actor himself has experienced . " " Well then , " Vanya went on , " what are ' feelings that seem true ' ? " " By true seeming we refer not to actual ...
... emotions ' mean ? " " Just what it says - living human emotions , feelings which the actor himself has experienced . " " Well then , " Vanya went on , " what are ' feelings that seem true ' ? " " By true seeming we refer not to actual ...
Page 158
... emotion memory can bring back feelings you have already experienced . They may seem to be beyond re- call , when suddenly a suggestion , a thought , a familiar object will bring them back in full force . Sometimes the emotions are as ...
... emotion memory can bring back feelings you have already experienced . They may seem to be beyond re- call , when suddenly a suggestion , a thought , a familiar object will bring them back in full force . Sometimes the emotions are as ...
Page 165
... emotions as that ? " " Does that mean that they are never desirable ? " I asked . " On the contrary , they are extremely desirable , " said Tortsov . " But these direct , powerful and vivid emotions do not make their appearance on the ...
... emotions as that ? " " Does that mean that they are never desirable ? " I asked . " On the contrary , they are extremely desirable , " said Tortsov . " But these direct , powerful and vivid emotions do not make their appearance on the ...
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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