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 114
... physical . In every physical objective there is some psychology and vice versa . You cannot separate them . For instance : the psychology of a man about to commit suicide is ex- tremely complicated . It is difficult for him to make up ...
... physical . In every physical objective there is some psychology and vice versa . You cannot separate them . For instance : the psychology of a man about to commit suicide is ex- tremely complicated . It is difficult for him to make up ...
Page 134
... physical actions . These you must tread down until you have permanently fixed the true path of your role . Now go up onto the stage and repeat , several times , the detailed physical actions that we worked out last time . " Mind you ...
... physical actions . These you must tread down until you have permanently fixed the true path of your role . Now go up onto the stage and repeat , several times , the detailed physical actions that we worked out last time . " Mind you ...
Page 149
... physical skill . But you cannot tell me that the great writers of the world produced their masterpieces so that their heroes could indulge in exercises of physical actions . Art is free ! It needs space , and not your little physical ...
... physical skill . But you cannot tell me that the great writers of the world produced their masterpieces so that their heroes could indulge in exercises of physical actions . Art is free ! It needs space , and not your little physical ...
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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