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 9
... felt blinded . The brightness was so intense that it seemed to form a curtain of light between me and the auditorium . I felt protected from the public , and for a moment I breathed freely , but soon my eyes became accustomed to the ...
... felt blinded . The brightness was so intense that it seemed to form a curtain of light between me and the auditorium . I felt protected from the public , and for a moment I breathed freely , but soon my eyes became accustomed to the ...
Page 10
... felt in these words all the injury to the soul of a trusting man . Leo's interpretation of Othello suddenly rose in my memory and aroused my emotion . Besides , it almost seemed as though for a moment the listeners strained forward ...
... felt in these words all the injury to the soul of a trusting man . Leo's interpretation of Othello suddenly rose in my memory and aroused my emotion . Besides , it almost seemed as though for a moment the listeners strained forward ...
Page 203
... felt it when standing at the crater of a volcano . I felt the hot air from the tremendous internal fires of the earth . Does either of these suggestions appeal to you ? " " No , " I said stubbornly , " not at all . " " Then I shall try ...
... felt it when standing at the crater of a volcano . I felt the hot air from the tremendous internal fires of the earth . Does either of these suggestions appeal to you ? " " No , " I said stubbornly , " not at all . " " Then I shall try ...
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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