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
Results 1-3 of 48
Page 14
... living the part . This is of supreme significance in creative work . Aside from the fact that it opens up avenues for inspiration , living the part helps the artist to carry out one of his main objectives . His job is not to present ...
... living the part . This is of supreme significance in creative work . Aside from the fact that it opens up avenues for inspiration , living the part helps the artist to carry out one of his main objectives . His job is not to present ...
Page 16
... living your part with what you showed us on the stage . " " Why , what did I show ? " " I have told you that in all that big scene from Othello there were only a few minutes in which you succeeded in living the part . I used them to ...
... living your part with what you showed us on the stage . " " Why , what did I show ? " " I have told you that in all that big scene from Othello there were only a few minutes in which you succeeded in living the part . I used them to ...
Page 18
... living your role is not the chief moment of creation as it is with us , but one of the preparatory stages for further artistic work . " " But Paul did use his own feelings at the exhibition per- formance ! " I maintained . Someone else ...
... living your role is not the chief moment of creation as it is with us , but one of the preparatory stages for further artistic work . " " But Paul did use his own feelings at the exhibition per- formance ! " I maintained . Someone else ...
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