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 27
... external appearance of a black man in general , and you hastily reproduced him without ever thinking about what Shakespeare wrote . You reached for an external characterization which seemed to you effective , vivid , and easy to ...
... external appearance of a black man in general , and you hastily reproduced him without ever thinking about what Shakespeare wrote . You reached for an external characterization which seemed to you effective , vivid , and easy to ...
Page 155
... external , factual side of a play . " Yet , was the way you stood around and grouped yourselves of such great importance ? To me , as a spectator , what was going on inside of you was of much greater interest . Those feel- ings , drawn ...
... external , factual side of a play . " Yet , was the way you stood around and grouped yourselves of such great importance ? To me , as a spectator , what was going on inside of you was of much greater interest . Those feel- ings , drawn ...
Page 170
... external production of a play is inwardly tied up with the spiritual life of the actors it often acquires more significance on the stage than in real life . If it meets the needs of the play and produces the right mood it helps the ...
... external production of a play is inwardly tied up with the spiritual life of the actors it often acquires more significance on the stage than in real life . If it meets the needs of the play and produces the right mood it helps 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