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 20
... once they have done so they do not go on feeling it anew , they merely remember and repeat the external movements , intonations , and expressions they worked out at first , making this repetition without emotion . Often they are ...
... once they have done so they do not go on feeling it anew , they merely remember and repeat the external movements , intonations , and expressions they worked out at first , making this repetition without emotion . Often they are ...
Page 132
... once and believe in it . " Since it is impossible to take control of the whole at once , we must break it up and absorb each piece separately . To arrive at the essential truth of each bit and to be able to believe in it , we must ...
... once and believe in it . " Since it is impossible to take control of the whole at once , we must break it up and absorb each piece separately . To arrive at the essential truth of each bit and to be able to believe in it , we must ...
Page 158
... once told me about the great impression Moskvin made on you when he came to your town on a tour ? Can you recall his performance vividly enough so that the very thought of it now , six years later , brings back the flush of enthusiasm ...
... once told me about the great impression Moskvin made on you when he came to your town on a tour ? Can you recall his performance vividly enough so that the very thought of it now , six years later , brings back the flush of enthusiasm ...
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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