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 170
... mood . But when you compress twenty - four hours into a few minutes you feel the whole power over you of the varying tones of light . ' 99 " As you have noticed , " said the Director , " surroundings have a big influence over your ...
... mood . But when you compress twenty - four hours into a few minutes you feel the whole power over you of the varying tones of light . ' 99 " As you have noticed , " said the Director , " surroundings have a big influence over your ...
Page 172
... moods you were in . You have pro- duced the right setting and used it for your purpose . Or , is it possible that the setting you found suggested the mood and the action ? " He sat down by the fireplace and we faced him . Several pulled ...
... moods you were in . You have pro- duced the right setting and used it for your purpose . Or , is it possible that the setting you found suggested the mood and the action ? " He sat down by the fireplace and we faced him . Several pulled ...
Page 248
... mood unstable . The actor is left to act without direction . He is in contact with the audience , instead of with his partner in the play . He adapts himself to their pleasure and not to the task of sharing his thoughts and feelings ...
... mood unstable . The actor is left to act without direction . He is in contact with the audience , instead of with his partner in the play . He adapts himself to their pleasure and not to the task of sharing his thoughts and feelings ...
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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