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 128
... activity : the taking of the liquid into the mouth , the sensation of taste , letting the water flow back on the tongue and then swallowing it . " " Exactly , " interrupted the Director , " all these fine details must be repeated even ...
... activity : the taking of the liquid into the mouth , the sensation of taste , letting the water flow back on the tongue and then swallowing it . " " Exactly , " interrupted the Director , " all these fine details must be repeated even ...
Page 132
... activity . Just think of compressing all of your past life into ten short minutes . Isn't that action ? " " Of course it is , " I agreed , “ but it is not physical . " " Very well , " said Tortsov . " Perhaps it isn't physical . We need ...
... activity . Just think of compressing all of your past life into ten short minutes . Isn't that action ? " " Of course it is , " I agreed , “ but it is not physical . " " Very well , " said Tortsov . " Perhaps it isn't physical . We need ...
Page 193
... activity and that the inner , invisible acts of spiritual communion are not . This mistaken idea is the more regrettable because every manifesta- tion of inner activity is important and valuable . Therefore learn to prize that inner ...
... activity and that the inner , invisible acts of spiritual communion are not . This mistaken idea is the more regrettable because every manifesta- tion of inner activity is important and valuable . Therefore learn to prize that inner ...
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