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 23
... hand over your heart to express love , or opening your mouth wide to give the idea of death . Others are taken ready - made , from talented contemporaries ( such as rub- bing the brow with the back of the hand , as Vera Komis ...
... hand over your heart to express love , or opening your mouth wide to give the idea of death . Others are taken ready - made , from talented contemporaries ( such as rub- bing the brow with the back of the hand , as Vera Komis ...
Page 40
... hand . " To pretend to light a fire , pretended matches are sufficient . As if the point were to strike a match ! " When you reach the point of playing Hamlet , threading a way through his intricate psychology to the moment when he ...
... hand . " To pretend to light a fire , pretended matches are sufficient . As if the point were to strike a match ! " When you reach the point of playing Hamlet , threading a way through his intricate psychology to the moment when he ...
Page 113
... hand . That is an ordinary me- chanical objective . It has nothing to do with psychology . " " Is that wrong ? " broke in Vanya . The Director hastened to disabuse him . " Of course you may say how do you do , but you may not love ...
... hand . That is an ordinary me- chanical objective . It has nothing to do with psychology . " " Is that wrong ? " broke in Vanya . The Director hastened to disabuse him . " Of course you may say how do you do , but you may not love ...
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