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 155
... soul , " How many souls would he be obliged hand , can he tear out his own soul , anted , as being more suitable to a ne ? You can borrow clothing , cannot take feelings away inalienably mine , and fee are div qu CO ours belong to you ...
... soul , " How many souls would he be obliged hand , can he tear out his own soul , anted , as being more suitable to a ne ? You can borrow clothing , cannot take feelings away inalienably mine , and fee are div qu CO ours belong to you ...
Page 166
... soul of the person he is to portray out of emotions that are dearer to him than his everyday sensations . Can you ... soul , for every part he plays ? How many souls would he be obliged to house ? On the other hand , can he tear out his ...
... soul of the person he is to portray out of emotions that are dearer to him than his everyday sensations . Can you ... soul , for every part he plays ? How many souls would he be obliged to house ? On the other hand , can he tear out his ...
Page 188
... soul . " " You see , when you want to communicate with a person you first seek out his soul , his inner world . Now try to find my living soul : the real , live me . ” " How ? " I asked . The Director was astonished . " Have you never ...
... soul . " " You see , when you want to communicate with a person you first seek out his soul , his inner world . Now try to find my living soul : the real , live me . ” " How ? " I asked . The Director was astonished . " Have you never ...
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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