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 34
... action . Why is it action to sit in a chair , as you did , without moving a finger ? To me it looked like complete lack of action . " I interrupted boldly : " I do not know whether it was action . or inaction , but all of us are agreed ...
... action . Why is it action to sit in a chair , as you did , without moving a finger ? To me it looked like complete lack of action . " I interrupted boldly : " I do not know whether it was action . or inaction , but all of us are agreed ...
Page 111
Konstantin Stanislavsky. Action not result process not III product . UNITS AND OBJECTIVES ing action and aiming straight at the result you get a forced prod- uct which can lead to nothing but ham acting . " Try to avoid straining after ...
Konstantin Stanislavsky. Action not result process not III product . UNITS AND OBJECTIVES ing action and aiming straight at the result you get a forced prod- uct which can lead to nothing but ham acting . " Try to avoid straining after ...
Page 117
... action , but it is not true , full integrated action . What you describe is theatrical and representational , and as such is not art in our sense . " Then he went on to explain : “ If , instead of a noun we use a verb , let us see what ...
... action , but it is not true , full integrated action . What you describe is theatrical and representational , and as such is not art in our sense . " Then he went on to explain : “ If , instead of a noun we use a verb , let us see what ...
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