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 122
... human being , would have acted if the circumstances and conditions which surrounded Othello were real and the dagger with which he stabbed himself were metal . " Of significance to us is : the reality of the inner life of a human spirit ...
... human being , would have acted if the circumstances and conditions which surrounded Othello were real and the dagger with which he stabbed himself were metal . " Of significance to us is : the reality of the inner life of a human spirit ...
Page 135
... human body . ' It is made up , as you have seen , of living physical actions , motivated by an inner sense of truth , and a belief in what the actor is doing . This life of the human body in a role is no small matter . It is one half of ...
... human body . ' It is made up , as you have seen , of living physical actions , motivated by an inner sense of truth , and a belief in what the actor is doing . This life of the human body in a role is no small matter . It is one half of ...
Page 224
... human adjustments in your relations to others on the stage . Yet a large part of those ad- justments grow out of the ... human beings . Motor adjustments , on the contrary , were intuitive , originally , but they have become mechanical ...
... human adjustments in your relations to others on the stage . Yet a large part of those ad- justments grow out of the ... human beings . Motor adjustments , on the contrary , were intuitive , originally , but they have become mechanical ...
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