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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... effect on the audience and the real effect of the artist must be immensely valuable . Another value of a studio like Stanislavski's is that it may lead young people into designing , directing , and other branches of the theatre , even ...
... effect on the audience and the real effect of the artist must be immensely valuable . Another value of a studio like Stanislavski's is that it may lead young people into designing , directing , and other branches of the theatre , even ...
Page 170
... effects become creative and artistic media . " When the external production of a play is inwardly tied up with the ... effect from the right one . Instead of attracting the attention of the actors toward the stage they will repel 170 ...
... effects become creative and artistic media . " When the external production of a play is inwardly tied up with the ... effect from the right one . Instead of attracting the attention of the actors toward the stage they will repel 170 ...
Page 260
... effect . Break up a beautiful statue and the small scraps of marble cannot be overwhelming in their effect . ' " The next day , at rehearsal , I showed her how to prepare her units and objectives in relation to the main theme and di ...
... effect . Break up a beautiful statue and the small scraps of marble cannot be overwhelming in their effect . ' " The next day , at rehearsal , I showed her how to prepare her units and objectives in relation to the main theme and di ...
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