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 18
... Paul did use his own feelings at the exhibition per- formance ! " I maintained . Someone else agreed with me , and insisted that in Paul's acting , just as in mine , there had been a few scattered moments of truly living the part ...
... Paul did use his own feelings at the exhibition per- formance ! " I maintained . Someone else agreed with me , and insisted that in Paul's acting , just as in mine , there had been a few scattered moments of truly living the part ...
Page 19
... Paul insisted . " Your own sensations , or the sensations prepared for your part ? " " My own , but applicable to Iago , " explained Paul . " Consequently , while you were working with the mirror , what interested you was not so much ...
... Paul insisted . " Your own sensations , or the sensations prepared for your part ? " " My own , but applicable to Iago , " explained Paul . " Consequently , while you were working with the mirror , what interested you was not so much ...
Page 64
... Paul could not hear anything . " Don't you hear anything in the meadow around you ? " Then Paul said he could hear the sheep and the cows , the munching of grass , the tinkle of the cow - bells , the gossip of the women resting after ...
... Paul could not hear anything . " Don't you hear anything in the meadow around you ? " Then Paul said he could hear the sheep and the cows , the munching of grass , the tinkle of the cow - bells , the gossip of the women resting after ...
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