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 168
... means of drawing on your emotional material . Your second , that of discovering methods of creating an infinite number of combinations of human souls , characters , feelings , passions for your parts . " " Where can we find those means ...
... means of drawing on your emotional material . Your second , that of discovering methods of creating an infinite number of combinations of human souls , characters , feelings , passions for your parts . " " Where can we find those means ...
Page 196
... mean that you are not in direct contact with your object , that you are showing off the part or yourself , or that you ... means that many who boast are mistaken and others , whom they criticize , prove capable of establishing the right ...
... mean that you are not in direct contact with your object , that you are showing off the part or yourself , or that you ... means that many who boast are mistaken and others , whom they criticize , prove capable of establishing the right ...
Page 206
... means ? Can we produce them at will ? " Here again we are in the situation of having to work from the outside , when our desires do not come spontaneously from the inside . Fortunately an organic bond exists between the body and the ...
... means ? Can we produce them at will ? " Here again we are in the situation of having to work from the outside , when our desires do not come spontaneously from the inside . Fortunately an organic bond exists between the body and the ...
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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