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 47
... given circumstances - that is what we ask of a dramatist . ' " I add from myself that that is exactly what we ask of an actor . " Think deeply about this saying , and later I shall give you a vivid example of how if helps us to carry it ...
... given circumstances - that is what we ask of a dramatist . ' " I add from myself that that is exactly what we ask of an actor . " Think deeply about this saying , and later I shall give you a vivid example of how if helps us to carry it ...
Page 48
... given to an actor to take into account as he creates his role . " If is the starting point , the given circumstances , the de- velopment . The one cannot exist without the other , if it is to possess a necessary stimulating quality ...
... given to an actor to take into account as he creates his role . " If is the starting point , the given circumstances , the de- velopment . The one cannot exist without the other , if it is to possess a necessary stimulating quality ...
Page 101
... given was a simple one . And yet not one of the students could execute it rightly . They were re- quired to do a so - called " isolated act , " to use only the group of muscles involved in movements of the shoulder , and no others ...
... given was a simple one . And yet not one of the students could execute it rightly . They were re- quired to do a so - called " isolated act , " to use only the group of muscles involved in movements of the shoulder , and no others ...
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