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 192
... give a performance to a com- pletely empty hall . Would you care to do that ? No ! Because to act without a public is like singing in a place without resonance . To play to a large and sympathetic audience is like singing in a room with ...
... give a performance to a com- pletely empty hall . Would you care to do that ? No ! Because to act without a public is like singing in a place without resonance . To play to a large and sympathetic audience is like singing in a room with ...
Page 197
... give a mechanical performance . " There are an infinite number of combinations . Consequently it is best for you to make a practice of : 1 ) finding your real object on the stage and getting into active communication with it , and 2 ...
... give a mechanical performance . " There are an infinite number of combinations . Consequently it is best for you to make a practice of : 1 ) finding your real object on the stage and getting into active communication with it , and 2 ...
Page 285
... give life and colour to a play . Without them the main theme would be dry and inanimate . What gives that intangible charm to a theme so that it infects all the actors playing one and the same part ? Largely it is something we cannot ...
... give life and colour to a play . Without them the main theme would be dry and inanimate . What gives that intangible charm to a theme so that it infects all the actors playing one and the same part ? Largely it is something we cannot ...
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