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 5
... method of acting , and even to the old business . I did not control my methods ; rather they con- trolled me . 5 Today's rehearsal brought nothing new . However , I am be- coming more accustomed to the place where we work , and to the ...
... method of acting , and even to the old business . I did not control my methods ; rather they con- trolled me . 5 Today's rehearsal brought nothing new . However , I am be- coming more accustomed to the place where we work , and to the ...
Page 138
... method of creating both the physical and the spiritual life of a part seemed remarkable . I did feel , however , that the whole basis of the success of this method lay in the magic ifs and given circumstances . It was they that produced ...
... method of creating both the physical and the spiritual life of a part seemed remarkable . I did feel , however , that the whole basis of the success of this method lay in the magic ifs and given circumstances . It was they that produced ...
Page 259
... method . She worked with various teachers and for several years . Then she returned to the stage . " To her amazement she was no longer successful . The public found that she had lost her most valuable attribute , which was a direct ...
... method . She worked with various teachers and for several years . Then she returned to the stage . " To her amazement she was no longer successful . The public found that she had lost her most valuable attribute , which was a direct ...
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