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 95
... exercises . The Director had said : " Kostya can't be busy while he is lying there in bed , so let him try out some appropriate way of spending his time . " The exercise consists of lying on my back on a flat , hard surface , such as ...
... exercises . The Director had said : " Kostya can't be busy while he is lying there in bed , so let him try out some appropriate way of spending his time . " The exercise consists of lying on my back on a flat , hard surface , such as ...
Page 126
... exercise of burning the money . " You do not get hold of this exercise because , in the first place , you are anxious to believe all of the terrible things I put into the plot . But do not try to do it all at once ; proceed bit by bit ...
... exercise of burning the money . " You do not get hold of this exercise because , in the first place , you are anxious to believe all of the terrible things I put into the plot . But do not try to do it all at once ; proceed bit by bit ...
Page 135
... exercise from beginning to end , several times , using just the physical actions . " We followed his instructions and really did feel that the detailed bits dovetailed into one continuing whole . This se- quence was strengthened by each ...
... exercise from beginning to end , several times , using just the physical actions . " We followed his instructions and really did feel that the detailed bits dovetailed into one continuing whole . This se- quence was strengthened by each ...
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