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 133
... important for an actor to know how to proceed under ordinary circumstances . When a whole act is too large to handle , break up . If one detail is not sufficient to convince you of the truth of what you are doing , add others to it ...
... important for an actor to know how to proceed under ordinary circumstances . When a whole act is too large to handle , break up . If one detail is not sufficient to convince you of the truth of what you are doing , add others to it ...
Page 160
... important sides of our complex natures are neither known to us nor subject to our conscious direction . Only nature has access to them . Unless we enlist her aid we must be content with only a partial rule over our com- plicated ...
... important sides of our complex natures are neither known to us nor subject to our conscious direction . Only nature has access to them . Unless we enlist her aid we must be content with only a partial rule over our com- plicated ...
Page 229
... important , " exclaimed Vanya . " I agree with you . Feel your part and instantly all your inner chords will harmonize , your whole bodily apparatus of expres- sion will begin to function . Therefore we have found the first , and most ...
... important , " exclaimed Vanya . " I agree with you . Feel your part and instantly all your inner chords will harmonize , your whole bodily apparatus of expres- sion will begin to function . Therefore we have found the first , and most ...
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