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 57
... things . On the contrary , include them in your imaginary lives . " That sort of transformation has a real place in ... thing directly with your mind . Now , " he asked , turning to me , " where would you like to be , and at what time ...
... things . On the contrary , include them in your imaginary lives . " That sort of transformation has a real place in ... thing directly with your mind . Now , " he asked , turning to me , " where would you like to be , and at what time ...
Page 72
... things all around us that at first my eyes kept running from one to the other . Finally I settled on a little statuette over on the mantelpiece . But I could not keep my eyes fixed on it for long . They were drawn away to other things ...
... things all around us that at first my eyes kept running from one to the other . Finally I settled on a little statuette over on the mantelpiece . But I could not keep my eyes fixed on it for long . They were drawn away to other things ...
Page 73
... things in public . " Remember this : all of our acts , even the simplest , which are so familiar to us in everyday life , become strained when we appear behind the footlights before a public of a thousand people . That is why it is ...
... things in public . " Remember this : all of our acts , even the simplest , which are so familiar to us in everyday life , become strained when we appear behind the footlights before a public of a thousand people . That is why it is ...
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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