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 41
... explained the Director . " If an action has no inner foundation , it cannot hold your atten- tion . It takes no time to push a few chairs about , but if you were compelled to arrange some chairs of different sorts for a particu- lar ...
... explained the Director . " If an action has no inner foundation , it cannot hold your atten- tion . It takes no time to push a few chairs about , but if you were compelled to arrange some chairs of different sorts for a particu- lar ...
Page 110
... explained the Director today . " There is an- other , far more important , inner reason . At the heart of every unit lies a creative objective . “ Each objective is an organic part of the unit or , conversely , it creates the unit which ...
... explained the Director today . " There is an- other , far more important , inner reason . At the heart of every unit lies a creative objective . “ Each objective is an organic part of the unit or , conversely , it creates the unit which ...
Page 239
... explained the Director , “ but not in a normal person . In healthy people there must be some interruptions . At least , so it seems . Yet during those breaks , a person continues to exist . He does not die . Therefore some sort of a ...
... explained the Director , “ but not in a normal person . In healthy people there must be some interruptions . At least , so it seems . Yet during those breaks , a person continues to exist . He does not die . Therefore some sort of a ...
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