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 33
... stage , one watches him closely , and perhaps has an actual pleasure in seeing him merely sit . This did not happen when the others sat on the stage . We neither wanted to look at them nor to know what was going on 2 inside them . Their ...
... stage , one watches him closely , and perhaps has an actual pleasure in seeing him merely sit . This did not happen when the others sat on the stage . We neither wanted to look at them nor to know what was going on 2 inside them . Their ...
Page 185
... stage , which either deforms , or kills acting ? Yet if communication between persons is important in real life , it is ten times more so on the stage . " This truth derives from the nature of the theatre , which is based on the inter ...
... stage , which either deforms , or kills acting ? Yet if communication between persons is important in real life , it is ten times more so on the stage . " This truth derives from the nature of the theatre , which is based on the inter ...
Page 186
... stage , one of them wants to share his feelings with another , or to convince him of something he believes , while the other is mak- ing every effort to take in those feelings and those thoughts . " When the spectator is present during ...
... stage , one of them wants to share his feelings with another , or to convince him of something he believes , while the other is mak- ing every effort to take in those feelings and those thoughts . " When the spectator is present during ...
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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