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 149
... necessary daily exercises before she can make her graceful flights in the evening's performance . A singer has to spend his mornings bellowing , intoning through his nose , holding notes , developing his diaphragm and searching for new ...
... necessary daily exercises before she can make her graceful flights in the evening's performance . A singer has to spend his mornings bellowing , intoning through his nose , holding notes , developing his diaphragm and searching for new ...
Page 235
... necessary , the intellectual shadings of a part like Hamlet or Nathan der Weise . “ It is , however , necessary not to allow any one of the three elements to crush out either of the others and thereby upset the balance and necessary ...
... necessary , the intellectual shadings of a part like Hamlet or Nathan der Weise . “ It is , however , necessary not to allow any one of the three elements to crush out either of the others and thereby upset the balance and necessary ...
Page 282
... necessary and pleasing to him . Then take our second objective - dolce far niente . That is no longer necessary or right . In talking about her the Moor is en- gaged in something important and vital to him , and again for the reason ...
... necessary and pleasing to him . Then take our second objective - dolce far niente . That is no longer necessary or right . In talking about her the Moor is en- gaged in something important and vital to him , and again for the reason ...
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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