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 82
... material for our inner concentration of attention . The difficulty in using it lies in the fact that it is fragile . Material things around us on the stage call for a well- trained attention , but imaginary objects demand an even far ...
... material for our inner concentration of attention . The difficulty in using it lies in the fact that it is fragile . Material things around us on the stage call for a well- trained attention , but imaginary objects demand an even far ...
Page 88
... material that will stir my emotions . " After you have learned how to observe life around you and draw on it for your work you will turn to the study of the most necessary , important , and living emotional material on which your main ...
... material that will stir my emotions . " After you have learned how to observe life around you and draw on it for your work you will turn to the study of the most necessary , important , and living emotional material on which your main ...
Page 287
... material which he does not need immediately to pursue his aims only clutters up his mind and interferes with his work . He should be careful to avoid this , especially during the early period of creativeness . " " Then what can we do ...
... material which he does not need immediately to pursue his aims only clutters up his mind and interferes with his work . He should be careful to avoid this , especially during the early period of creativeness . " " Then what can we do ...
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