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 133
... important for an actor to know how to proceed under ordinary circumstances . When a whole act is too large to handle , break up . If one detail is not sufficient to convince you of the truth of what you are doing , add others to it ...
... important for an actor to know how to proceed under ordinary circumstances . When a whole act is too large to handle , break up . If one detail is not sufficient to convince you of the truth of what you are doing , add others to it ...
Page 229
... important , " exclaimed Vanya . " I agree with you . Feel your part and instantly all your inner chords will harmonize , your whole bodily apparatus of expres sion will begin to function . Therefore we have found the first , and most ...
... important , " exclaimed Vanya . " I agree with you . Feel your part and instantly all your inner chords will harmonize , your whole bodily apparatus of expres sion will begin to function . Therefore we have found the first , and most ...
Page 280
... important step . " " Now repeat everything up to this point and add still another bit , the first intimations of jealousy . " We did as directed and awkwardly defined our objective as " poking fun at the absurdity of Iago's vow ...
... important step . " " Now repeat everything up to this point and add still another bit , the first intimations of jealousy . " We did as directed and awkwardly defined our objective as " poking fun at the absurdity of Iago's vow ...
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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