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 16
... experience has led to a firm belief that only our kind of art , soaked as it is in the living experiences of human beings , can artistically reproduce the impalpable shadings and depths of life . Only such art can completely absorb the ...
... experience has led to a firm belief that only our kind of art , soaked as it is in the living experiences of human beings , can artistically reproduce the impalpable shadings and depths of life . Only such art can completely absorb the ...
Page 23
... experience . But as mechan- ical actors do not experience feelings they cannot reproduce their external results . " With the aid of his face , mimicry , voice , and gestures , the mechanical actor offers the public nothing but the dead ...
... experience . But as mechan- ical actors do not experience feelings they cannot reproduce their external results . " With the aid of his face , mimicry , voice , and gestures , the mechanical actor offers the public nothing but the dead ...
Page 175
... experience . " You do the same , ' said this wise actor to me . ' Never begin with results . They will appear in time as the logical outcome of what has gone before ? ' " I did as he advised . I tried to get down to the roots of that ...
... experience . " You do the same , ' said this wise actor to me . ' Never begin with results . They will appear in time as the logical outcome of what has gone before ? ' " I did as he advised . I tried to get down to the roots of that ...
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