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 72
... look at the pattern more closely . Meantime Paul was enthusiastically rapt in the job of unknotting his string . And all the others were busy doing things or attentively observing their various objects . Finally the Director said : " I ...
... look at the pattern more closely . Meantime Paul was enthusiastically rapt in the job of unknotting his string . And all the others were busy doing things or attentively observing their various objects . Finally the Director said : " I ...
Page 73
... look , but on the stage you lose all these faculties . You feel the closeness of the public and you say to yourself , ' Why are they looking at me ? ' And you have to be taught all over again how to do all these things in public ...
... look , but on the stage you lose all these faculties . You feel the closeness of the public and you say to yourself , ' Why are they looking at me ? ' And you have to be taught all over again how to do all these things in public ...
Page 102
... look at it with opera glasses , the way they examine a miniature with a magnify- ing glass . Consequently no detail escapes the public , not the slightest . If these stiff arms are half - way passable in ordinary life , on the stage ...
... look at it with opera glasses , the way they examine a miniature with a magnify- ing glass . Consequently no detail escapes the public , not the slightest . If these stiff arms are half - way passable in ordinary life , on the stage ...
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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