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 1
... thought of vaudeville or light comedy . But all around us we heard great names pro- nounced - Gogol , Ostrovski , Chekhov , and others . Impercep- tibly we found that we had stepped ahead in our ambitions and would play something ...
... thought of vaudeville or light comedy . But all around us we heard great names pro- nounced - Gogol , Ostrovski , Chekhov , and others . Impercep- tibly we found that we had stepped ahead in our ambitions and would play something ...
Page 9
... thought in my mind , to finish as quickly as possible , to take off my make - up , and to get out of the theatre . And here I am at home alone , where I am most unhappy . Fortunately Leo came around to see me . He had seen me out in the ...
... thought in my mind , to finish as quickly as possible , to take off my make - up , and to get out of the theatre . And here I am at home alone , where I am most unhappy . Fortunately Leo came around to see me . He had seen me out in the ...
Page 196
... thought and were surprised to have the bell rung on us frequently . All the others were tested in the same way . Grisha and Sonya were last , and we thought the Director would be ringing inces- santly ; yet actually he did it much less ...
... thought and were surprised to have the bell rung on us frequently . All the others were tested in the same way . Grisha and Sonya were last , and we thought the Director would be ringing inces- santly ; yet actually he did it much less ...
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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