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 v
... Objectives Faith and a Sense of Truth Emotion Memory Communion Adaptation Inner Motive Forces The Unbroken Line vii 13 35 59 79 103 121 139 177 10. 209 11. 241 12. 263 13. 271 14. The Inner ... Super-Objective On the Threshold v Contents.
... Objectives Faith and a Sense of Truth Emotion Memory Communion Adaptation Inner Motive Forces The Unbroken Line vii 13 35 59 79 103 121 139 177 10. 209 11. 241 12. 263 13. 271 14. The Inner ... Super-Objective On the Threshold v Contents.
Page vi
Constantin Stanislavski. 14. The Inner Creative State The Super-Objective On the Threshold of the Subconscious 281 15. 293 16. 303 Note by the Translator FRIENDS OF STANISLAVSKI have long known vi Contents.
Constantin Stanislavski. 14. The Inner Creative State The Super-Objective On the Threshold of the Subconscious 281 15. 293 16. 303 Note by the Translator FRIENDS OF STANISLAVSKI have long known vi Contents.
Page 293
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Contents
1 The First Test | 1 |
2 When Acting Is an Art | 13 |
3 Action | 35 |
4 Imagination | 59 |
5 Concentration of Attention | 79 |
6 Relaxation of Muscles | 103 |
7 Units and Objectives | 121 |
8 Faith and a Sense of Truth | 139 |
10 Communion | 209 |
11 Adaptation | 241 |
12 Inner Motive Forces | 263 |
13 The Unbroken Line | 271 |
14 The Inner Creative State | 281 |
15 The SuperObjective | 293 |
16 On the Threshold of the Subconscious
| 303 |
9 Emotion Memory | 177 |
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Common terms and phrases
actor adaptations adjustments answer aroused artist asked the Director asked Tortsov attention audience become began believe can’t circle conscious create curtain 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 impression inner creative inspiration Kostya light line of action living look Maria means mechanical acting method mind moments mood muscles nature necessary object Othello ourselves Paul person physical actions play Prana prepared proscenium arch purpose rehearsal remember role rubber stamps scene sensations sense of truth sitting soliloquy Sonya soul spectators spiritual stage stimulus subconscious suddenly suggested super-objective Suppose Tartuffe technique tell tenseness theatre theatrical theme things thought tion turn uncon Vanya whole wish words