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. |
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Page 39
... lesson had already begun . At last the Director reminded us that we had come together for work . " What shall we do ? " someone asked . " The same thing as yesterday , " was the reply . But we continued to stand around . " What is the ...
... lesson had already begun . At last the Director reminded us that we had come together for work . " What shall we do ? " someone asked . " The same thing as yesterday , " was the reply . But we continued to stand around . " What is the ...
Page 77
Konstantin Stanislavsky. intensity . So the lesson was divided into two parts , of a half hour each . After the first part we took a lesson in dancing . Then we went back and did exactly what we did before , except that the time of ...
Konstantin Stanislavsky. intensity . So the lesson was divided into two parts , of a half hour each . After the first part we took a lesson in dancing . Then we went back and did exactly what we did before , except that the time of ...
Page 276
... lesson is that you now have the power to create favourable con- ditions for the birth of inspiration . Therefore put ... lesson . 3 Today Tortsov continued to sum up the results of our last lesson . He began : " Kostya gave you a ...
... lesson is that you now have the power to create favourable con- ditions for the birth of inspiration . Therefore put ... lesson . 3 Today Tortsov continued to sum up the results of our last lesson . He began : " Kostya gave you a ...
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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