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 46
... whole train , killing hundreds of people , ” I retorted . " On account of one small nut ? You will never get him to believe that , " argued the Director . " The man is only making believe . He understands the na- ture of his act ...
... whole train , killing hundreds of people , ” I retorted . " On account of one small nut ? You will never get him to believe that , " argued the Director . " The man is only making believe . He understands the na- ture of his act ...
Page 241
... whole unbroken line that flows from the past , through the present , into the future , from the moment you wake in the morning until you close your eyes at night . That is how little individual lines flow together and form one large ...
... whole unbroken line that flows from the past , through the present , into the future , from the moment you wake in the morning until you close your eyes at night . That is how little individual lines flow together and form one large ...
Page 282
... whole life to her service . " As I reflected about this larger objective , I found that it helped me to intensify the whole scene as well as other parts of my role . I felt this whenever I began to shape any action toward the ultimate ...
... whole life to her service . " As I reflected about this larger objective , I found that it helped me to intensify the whole scene as well as other parts of my role . I felt this whenever I began to shape any action toward the ultimate ...
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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