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
Results 1-3 of 51
Page 53
... course he romances , but an impressionable person of his sort really believes in his fabrications . We actors are so accus- tomed to embroider facts with details drawn from our own imaginations , that the habit is carried over into ...
... course he romances , but an impressionable person of his sort really believes in his fabrications . We actors are so accus- tomed to embroider facts with details drawn from our own imaginations , that the habit is carried over into ...
Page 232
... course they can , " we chorused . " In that case we have found our third master - will . Conse- quently we have three impelling movers in our psychic life , three masters who play on the instrument of our souls . " As usual Grisha had a ...
... course they can , " we chorused . " In that case we have found our third master - will . Conse- quently we have three impelling movers in our psychic life , three masters who play on the instrument of our souls . " As usual Grisha had a ...
Page 264
... course has been directed toward enabling you to obtain control of the three most important features in our creative process : 1 ) Inner grasp 2 ) The through line of action 3 ) The super - objective . " There was silence for a while and ...
... course has been directed toward enabling you to obtain control of the three most important features in our creative process : 1 ) Inner grasp 2 ) The through line of action 3 ) The super - objective . " There was silence for a while and ...
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