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 21
... artist of the school of representation transfers it to himself . This work is concretely described by one of the ... artist , our creative nature . Your answer " Artists of the Coquelin school reason this way : The theatre is a ...
... artist of the school of representation transfers it to himself . This work is concretely described by one of the ... artist , our creative nature . Your answer " Artists of the Coquelin school reason this way : The theatre is a ...
Page 166
... artist takes the best that is in him and carries it over on the stage . The form will vary , according to the necessities of the play , but the human emotions of the artist will remain alive , and they cannot be replaced by anything ...
... artist takes the best that is in him and carries it over on the stage . The form will vary , according to the necessities of the play , but the human emotions of the artist will remain alive , and they cannot be replaced by anything ...
Page 290
... artist should make it his object , while he is on the stage , to centre his entire creative concentration on just the super - objective and through line of action , in their broadest and deepest meaning . If they are right all the rest ...
... artist should make it his object , while he is on the stage , to centre his entire creative concentration on just the super - objective and through line of action , in their broadest and deepest meaning . If they are right all the rest ...
Common terms and phrases
able acting action activity actor answer appear artist asked attention become began begin believe body carry circumstances conscious continued course create creative direct Director effect effort elements emotions everything exercise experience explained expression external eyes face feelings felt forces give given Grisha hand happened human imagination important inner interest kind lesson light living look material means mechanical memory method mind moments mood move muscles nature necessary never object once Paul performance person physical play possible prepared produce question reason remember result role scene seemed sensations sense soul stage subconscious suggested Suppose tell theatre things thought tion Tortsov tried true truth turn understand units Vanya whole wish