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 54
... kind of an imagination you have , " said the Director . " The kind that has initiative of its own can be developed without special effort , and will work steadily and untiringly , whether you are awake or asleep . Then there is the kind ...
... kind of an imagination you have , " said the Director . " The kind that has initiative of its own can be developed without special effort , and will work steadily and untiringly , whether you are awake or asleep . Then there is the kind ...
Page 149
... kind of direct bond between our physical and spiritual natures , why do you try to get rid of the physical side altogether ? But nature has refused to give you the very thing you long for : exalted feelings and experiences . Instead she ...
... kind of direct bond between our physical and spiritual natures , why do you try to get rid of the physical side altogether ? But nature has refused to give you the very thing you long for : exalted feelings and experiences . Instead she ...
Page 180
... kind of lure for them . The very things for your pur- pose are these stimuli to your emotion memory we have just been discussing . " The bond between the lure and the feeling is natural and normal and one that should be extensively ...
... kind of lure for them . The very things for your pur- pose are these stimuli to your emotion memory we have just been discussing . " The bond between the lure and the feeling is natural and normal and one that should be extensively ...
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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