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 121
... truth instead of falseness , ” he suggested . We objected , and said it was not as simple as all that . We insisted that we should prepare , rehearse , live the scene . . . . " Live it ? " the Director exclaimed . " But you just did ...
... truth instead of falseness , ” he suggested . We objected , and said it was not as simple as all that . We insisted that we should prepare , rehearse , live the scene . . . . " Live it ? " the Director exclaimed . " But you just did ...
Page 122
... truth in the theatre is the scenic truth which an actor must make use of in his moments of creativeness . Try always to begin by working from the inside , both on the factual and imaginary parts of a play and its setting . Put life into ...
... truth in the theatre is the scenic truth which an actor must make use of in his moments of creativeness . Try always to begin by working from the inside , both on the factual and imaginary parts of a play and its setting . Put life into ...
Page 123
... truth plays in the creative process . Let us now talk about its opposite . " A sense of truth contains within itself a sense of what is untrue as well . You must have both . But it will be in varying proportions . Some have , let us say ...
... truth plays in the creative process . Let us now talk about its opposite . " A sense of truth contains within itself a sense of what is untrue as well . You must have both . But it will be in varying proportions . Some have , let us say ...
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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