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 18
... true art . " Yet his objective is different . He lives his part as a prepara- tion for perfecting an external form ... true . This echo of a former process of living the part made his acting , in certain moments , a true example of the ...
... true art . " Yet his objective is different . He lives his part as a prepara- tion for perfecting an external form ... true . This echo of a former process of living the part made his acting , in certain moments , a true example of the ...
Page 47
... true in given circumstances - that is what we ask of a dramatist . ' " I add from myself that that is exactly what we ask of an actor . " Think deeply about this saying , and later I shall give you a vivid example of how if helps us to ...
... true in given circumstances - that is what we ask of a dramatist . ' " I add from myself that that is exactly what we ask of an actor . " Think deeply about this saying , and later I shall give you a vivid example of how if helps us to ...
Page 48
... true ' ? " " By true seeming we refer not to actual feelings themselves but to something nearly akin to them , to emotions reproduced indirectly , under the prompting of true inner feelings . " In practice , this is approximately what ...
... true ' ? " " By true seeming we refer not to actual feelings themselves but to something nearly akin to them , to emotions reproduced indirectly , under the prompting of true inner feelings . " In practice , this is approximately what ...
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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