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 41
... move the furniture , then to count the objects in the room , but having no purpose behind these acts they were all mechanical . " There is nothing surprising in that , " explained the Director . " If an action has no inner foundation ...
... move the furniture , then to count the objects in the room , but having no purpose behind these acts they were all mechanical . " There is nothing surprising in that , " explained the Director . " If an action has no inner foundation ...
Page 81
... moved along with me . In spite of moving about I felt at home and comfortable in the centre of a small circle . I paced up and down the room , the spotlight following me . I walked to the window and it came also . I sat down at the ...
... moved along with me . In spite of moving about I felt at home and comfortable in the centre of a small circle . I paced up and down the room , the spotlight following me . I walked to the window and it came also . I sat down at the ...
Page 103
Konstantin Stanislavsky. came involved . And worst of all they did the exercises of moving all the parts of the arm in turn ... move with it . A development and degree of finish in the cultivation of muscle technique as it exists in some ...
Konstantin Stanislavsky. came involved . And worst of all they did the exercises of moving all the parts of the arm in turn ... move with it . A development and degree of finish in the cultivation of muscle technique as it exists in some ...
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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