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 212
... mind , your feelings , your attention , your imagination ? How can I touch the very soul of such an influential person ? " If only I can make him conjure up a picture in his mind's eye that in any way approximates the dreadful reality ...
... mind , your feelings , your attention , your imagination ? How can I touch the very soul of such an influential person ? " If only I can make him conjure up a picture in his mind's eye that in any way approximates the dreadful reality ...
Page 231
... mind , " corrected Tortsov . " But your mind can do the same thing and be a motive power , in your psychic life , for your creative process . " Therefore we have proved that the second master is the mind , or intellect , " concluded ...
... mind , " corrected Tortsov . " But your mind can do the same thing and be a motive power , in your psychic life , for your creative process . " Therefore we have proved that the second master is the mind , or intellect , " concluded ...
Page 234
... mind , because it responds more readily to com- mands . The actor takes the thoughts in the lines of his part and arrives at a conception of their meaning . In turn , this con- ception will lead to an opinion about them , which will ...
... mind , because it responds more readily to com- mands . The actor takes the thoughts in the lines of his part and arrives at a conception of their meaning . In turn , this con- ception will lead to an opinion about them , which will ...
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