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 41
Page 81
... moved along with me . In spite of moving about I felt at home and comfortable in the centre of a small circle . I paced up and down the room , the spotlight following me . I walked to the window and it came also . I sat down at the ...
... moved along with me . In spite of moving about I felt at home and comfortable in the centre of a small circle . I paced up and down the room , the spotlight following me . I walked to the window and it came also . I sat down at the ...
Page 103
Konstantin Stanislavsky. came involved . And worst of all they did the exercises of moving all the parts of the arm in turn ... move with it . A development and degree of finish in the cultivation of muscle technique as it exists in some ...
Konstantin Stanislavsky. came involved . And worst of all they did the exercises of moving all the parts of the arm in turn ... move with it . A development and degree of finish in the cultivation of muscle technique as it exists in some ...
Page 171
... move towards or group yourselves around ! Because each situation that is prepared for you helps you to give a plastic outward form to your inner mood . Therefore , we absolutely need that third dimension , a depth of form in which we can ...
... move towards or group yourselves around ! Because each situation that is prepared for you helps you to give a plastic outward form to your inner mood . Therefore , we absolutely need that third dimension , a depth of form in which we can ...
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