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 149
... necessary daily exercises before she can make her graceful flights in the evening's performance . A singer has to spend his mornings bellowing , intoning through his nose , holding notes , developing his diaphragm and searching for new ...
... necessary daily exercises before she can make her graceful flights in the evening's performance . A singer has to spend his mornings bellowing , intoning through his nose , holding notes , developing his diaphragm and searching for new ...
Page 228
... necessary to the creative process in an actor . I shall add only that the elements I have listed today are just as important and necessary in bringing about the right inner spiritual state as those we worked on earlier in greater detail ...
... necessary to the creative process in an actor . I shall add only that the elements I have listed today are just as important and necessary in bringing about the right inner spiritual state as those we worked on earlier in greater detail ...
Page 251
... necessary , " said Tortsov reassuringly . “ To prepare yourself , go over the fundamental parts of your role . You do not need to develop them fully . " What you must do is to ask : am I sure of my attitude toward this or that ...
... necessary , " said Tortsov reassuringly . “ To prepare yourself , go over the fundamental parts of your role . You do not need to develop them fully . " What you must do is to ask : am I sure of my attitude toward this or that ...
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