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 231
... it in communion or adaptation ? " asked the Director . " If we are to have communication with one another we must have thoughts and feelings to exchange " " Quite right . " " It's units and objectives INNER MOTIVE FORCES 231.
... it in communion or adaptation ? " asked the Director . " If we are to have communication with one another we must have thoughts and feelings to exchange " " Quite right . " " It's units and objectives INNER MOTIVE FORCES 231.
Page 232
... forces ? " asked the Director . " No , of course not . Why do you say the same details ? ” re- torted Grisha . " How could it be otherwise ? Since these three forces form a triumvirate , inextricably bound up together , what you say of ...
... forces ? " asked the Director . " No , of course not . Why do you say the same details ? ” re- torted Grisha . " How could it be otherwise ? Since these three forces form a triumvirate , inextricably bound up together , what you say of ...
Page 247
... forces com- bine with the elements to carry out the purposes of the actor . Is that right ? " here I appealed to Tortsov . " Yes , with two modifications . The first is that the common fundamental objective is still far off and that ...
... forces com- bine with the elements to carry out the purposes of the actor . Is that right ? " here I appealed to Tortsov . " Yes , with two modifications . The first is that the common fundamental objective is still far off and 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