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 49
... direct command . Direct all of your attention to the ' given circumstances . ' They are always within reach . " what do I do ? Toward the end of the lesson he said : " I can now supple- ment what I said earlier about if . Its power ...
... direct command . Direct all of your attention to the ' given circumstances . ' They are always within reach . " what do I do ? Toward the end of the lesson he said : " I can now supple- ment what I said earlier about if . Its power ...
Page 192
... direct relation to the public , you had better dominate it . " There is still another angle : dealing with mob scenes . We are obliged to be in direct , immediate relationship with a mass object . Sometimes we turn to individuals in the ...
... direct relation to the public , you had better dominate it . " There is still another angle : dealing with mob scenes . We are obliged to be in direct , immediate relationship with a mass object . Sometimes we turn to individuals in the ...
Page 234
... direct stimulus can we use ? The direct stimulus for the mind we can find in the thoughts taken from the text of the play . For the feelings we must seek out the tempo - rhythm that under- lies the inner emotions and the external ...
... direct stimulus can we use ? The direct stimulus for the mind we can find in the thoughts taken from the text of the play . For the feelings we must seek out the tempo - rhythm that under- lies the inner emotions and the external ...
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