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 121
... scene with truth instead of falseness , ” he suggested . We objected , and said it was not as simple as all that . We insisted that we should prepare , rehearse , live the scene . . . . " Live it ? " the Director exclaimed . " But you ...
... scene with truth instead of falseness , ” he suggested . We objected , and said it was not as simple as all that . We insisted that we should prepare , rehearse , live the scene . . . . " Live it ? " the Director exclaimed . " But you ...
Page 263
... scene we worked over in class , with Agnes and the baby clothes . If I try , mentally , to reconcile this scene with the main theme ' All or Nothing ' I can make a great effort of the imagination and somehow bring them together . " It ...
... scene we worked over in class , with Agnes and the baby clothes . If I try , mentally , to reconcile this scene with the main theme ' All or Nothing ' I can make a great effort of the imagination and somehow bring them together . " It ...
Page 294
... scene has almost brought you to tears . Why ? Because in creating that scene you followed an entirely different path . You did not make a direct assault on the feelings of your spectators . You planted the seeds and let them come to ...
... scene has almost brought you to tears . Why ? Because in creating that scene you followed an entirely different path . You did not make a direct assault on the feelings of your spectators . You planted the seeds and let them come to ...
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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