An Actor Prepares, Volume 1This 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 23
... Grisha hastened to ask . " Mechanical acting . To be sure , not bad of its kind , having rather elaborately worked out methods of presenting the role with conventional illustrations . " I shall omit the long discussion raised by Grisha ...
... Grisha hastened to ask . " Mechanical acting . To be sure , not bad of its kind , having rather elaborately worked out methods of presenting the role with conventional illustrations . " I shall omit the long discussion raised by Grisha ...
Page 34
... Grisha , or to sit for a specific purpose , even so simple a one as waiting for something to happen ? It may not be of intrinsic interest in itself , but it is life , whereas showing yourself off takes you out of the realm of living art ...
... Grisha , or to sit for a specific purpose , even so simple a one as waiting for something to happen ? It may not be of intrinsic interest in itself , but it is life , whereas showing yourself off takes you out of the realm of living art ...
Page 232
... Grisha had a protest to make . He claimed that up to the present no stress had been laid on the part that the mind and the will play in creative work , whereas we had heard a great deal about feeling . " You mean that I should have gone ...
... Grisha had a protest to make . He claimed that up to the present no stress had been laid on the part that the mind and the will play in creative work , whereas we had heard a great deal about feeling . " You mean that I should have gone ...
Common terms and phrases
actor adaptations adjustments answer aroused 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 gestures 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 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