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. |
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Page 86
... person misses . " Other people are unable to develop this power of observation even sufficiently to preserve their own simplest interests . How much less able , then , are they to do it for the sake of studying life itself . " Average ...
... person misses . " Other people are unable to develop this power of observation even sufficiently to preserve their own simplest interests . How much less able , then , are they to do it for the sake of studying life itself . " Average ...
Page 178
... person who wrote the description or told about it , and also on that of the person reading or hearing the story . " Again , the emotions of a reader or hearer differ in quality from those of an onlooker or principal in such an event ...
... person who wrote the description or told about it , and also on that of the person reading or hearing the story . " Again , the emotions of a reader or hearer differ in quality from those of an onlooker or principal in such an event ...
Page 203
... person in your desires you don't need to use your muscles . Your physical sensation from this current should be barely percep- tible , but the force you are putting behind it would burst a blood vessel . " My patience crumbled and I ...
... person in your desires you don't need to use your muscles . Your physical sensation from this current should be barely percep- tible , but the force you are putting behind it would burst a blood vessel . " My patience crumbled and I ...
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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