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 71
... light appeared , on the table near which we were sitting . In the surrounding gloom this light was no- ticeable and bright . " This little lamp , " explained the Director , " shining in the darkness , is an example of the Nearest Object ...
... light appeared , on the table near which we were sitting . In the surrounding gloom this light was no- ticeable and bright . " This little lamp , " explained the Director , " shining in the darkness , is an example of the Nearest Object ...
Page 77
... lights today . " Up to now , " he said , " we have been dealing with objects in the form of points of light . Now I am going to show you a circle of attention . It will consist of a whole section , large or small in dimension , and will ...
... lights today . " Up to now , " he said , " we have been dealing with objects in the form of points of light . Now I am going to show you a circle of attention . It will consist of a whole section , large or small in dimension , and will ...
Page 243
... light on either side of the stage went on and off and the light in Tortsov's hand was extinguished . ) " Now we make mental comparisons with other Rembrandts in museums , abroad . ” ( A light in the vestibule , representing the imagined ...
... light on either side of the stage went on and off and the light in Tortsov's hand was extinguished . ) " Now we make mental comparisons with other Rembrandts in museums , abroad . ” ( A light in the vestibule , representing the imagined ...
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