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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... theatre and its students all over the world . The barrier of language is always a handicap in our ability to share and appreciate the fine work of the foreign theatre . Music , ballet , films even ( with the help of translated titles ) ...
... theatre and its students all over the world . The barrier of language is always a handicap in our ability to share and appreciate the fine work of the foreign theatre . Music , ballet , films even ( with the help of translated titles ) ...
Page 121
... theatre since everything about it is fictitious , beginning with the very plays of Shakespeare and ending with the ... theatre as unworthy of faith , then you will have to change your point of view . What counts in the theatre is not ...
... theatre since everything about it is fictitious , beginning with the very plays of Shakespeare and ending with the ... theatre as unworthy of faith , then you will have to change your point of view . What counts in the theatre is not ...
Page 185
... theatre , wherever the object is that maintains a bond of relationship with him . Meanwhile he plays his part in a purely mechanical way . When those lapses are fre- quent , and subject to interpolations from the actor's personal life ...
... theatre , wherever the object is that maintains a bond of relationship with him . Meanwhile he plays his part in a purely mechanical way . When those lapses are fre- quent , and subject to interpolations from the actor's personal life ...
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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