An Actor PreparesAn Actor Prepares is the most famous acting training book ever to have been written and the work of Stanislavski has inspired generations of actors and trainers. This translation was the first to introduce Stanislavski's 'system' to the English speaking world and has stood the test of time in acting classes to this day. Stanislavski here deals with the inward preparation an actor must undergo in order to explore a role to the full. He introduces the concepts of the 'magic if' units and objectives, of emotion memory, of the super-objective and many more now famous rehearsal aids. Now available in the Bloomsbury Revelations series to mark the 150th anniversary of Stanislavski's birth, this is an essential read for actors, directors and anyone interested in the art of drama. |
From inside the book
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Page vii
... Actor Prepares. Purchased back in the 1980s, it was my first encounter with the acting student, Kostya, and his formidable but kindly tutor-director, Tortzov. at the time, i was an undergraduate in Drama and Theatre arts at the ...
... Actor Prepares. Purchased back in the 1980s, it was my first encounter with the acting student, Kostya, and his formidable but kindly tutor-director, Tortzov. at the time, i was an undergraduate in Drama and Theatre arts at the ...
Page viii
... acting school or a theatre studies major that doesn't have An Actor Prepares on its reading list. There can barely be an actor or director who doesn't have a copy on their shelves. Why? Because there's just so much common sense in its ...
... acting school or a theatre studies major that doesn't have An Actor Prepares on its reading list. There can barely be an actor or director who doesn't have a copy on their shelves. Why? Because there's just so much common sense in its ...
Page ix
... Actor Prepares for practitioners and scholars dedicated to understanding and implementing, in totality, stanislavsky's 'system'. no one person has impacted on contemporary acting practice as significantly as Konstantin stanislavsky. no ...
... Actor Prepares for practitioners and scholars dedicated to understanding and implementing, in totality, stanislavsky's 'system'. no one person has impacted on contemporary acting practice as significantly as Konstantin stanislavsky. no ...
Page x
... actors and producers after his death. The first time he mentioned this wish to me he spoke of the projected work as a grammar of acting. in his own My Life in Art, and in similar expressions by persons who studied under him, a wholly ...
... actors and producers after his death. The first time he mentioned this wish to me he spoke of the projected work as a grammar of acting. in his own My Life in Art, and in similar expressions by persons who studied under him, a wholly ...
Page xi
... actors whether they happen to be born in russia or Germany, in italy, France, Poland, or america. of the importance of such a working record, in order that the greatest of modern acting companies shall shed its beams as far and as wide ...
... actors whether they happen to be born in russia or Germany, in italy, France, Poland, or america. of the importance of such a working record, in order that the greatest of modern acting companies shall shed its beams as far and as wide ...
Contents
Chapter 1 The First Test | 1 |
Chapter 2 When Acting is an Art | 11 |
Chapter 3 Action | 29 |
Chapter 4 Imagination | 47 |
Chapter 5 Concentration of Attention | 63 |
Chapter 6 Relaxation of Muscles | 83 |
Chapter 7 Units and Objectives | 97 |
Chapter 8 Faith and a Sense of Truth | 111 |
Chapter 10 Communion | 167 |
Chapter 11 Adaptation | 193 |
Chapter 12 Inner Motive Forces | 211 |
Chapter 13 The Unbroken Line | 219 |
Chapter 14 The Inner Creative State | 227 |
Chapter 15 The SuperObjective | 237 |
Chapter 16 On the Threshold of the Subconscious | 245 |
Chapter 9 Emotion Memory | 141 |
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Common terms and phrases
acting action activity actor adaptations adjustments answer appear artist asked attention become began begin believe body carry circumstances completely continued course create creative difficult direct Director effort elements emotions everything exercise experience explained expression external eyes face feelings felt forces give given Grisha hand happened human imagination important impression inner interesting lesson light living look material means mechanical memory method mind moment moments mood move muscles nature necessary never object once ourselves Paul performance person physical play possible prepared produced question reason remember result role scene seemed sensations sense soul stage subconscious suggested suppose tell theatre things thought Tortsov tried true truth turn understand units vanya whole wish