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
Results 1-3 of 70
Page 17
... moments when you suddenly and unexpectedly rise to great artistic heights and thrill your audience . In such moments you are creating according to your inspiration , improvising , as it were ; but would you feel yourself capable enough ...
... moments when you suddenly and unexpectedly rise to great artistic heights and thrill your audience . In such moments you are creating according to your inspiration , improvising , as it were ; but would you feel yourself capable enough ...
Page 18
... moments of truly living the part , mixed with a lot of incorrect acting . " No , " insisted Tortsov , " in our art you must live the part every moment that you are playing it , and every time . Each time it is recreated it must be lived ...
... moments of truly living the part , mixed with a lot of incorrect acting . " No , " insisted Tortsov , " in our art you must live the part every moment that you are playing it , and every time . Each time it is recreated it must be lived ...
Page 94
... moments . Therefore , at times of great stress it is especially necessary to achieve a complete freeing of the muscles . In fact , in the high moments of a part the tendency to relax should become more normal than the tendency to ...
... moments . Therefore , at times of great stress it is especially necessary to achieve a complete freeing of the muscles . In fact , in the high moments of a part the tendency to relax should become more normal than the tendency to ...
Other editions - View all
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