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 20
... once they have done so they do not go on feeling it anew , they merely remember and repeat the external movements , intonations , and expressions they worked out at first , making this repetition without emotion . Often they are ...
... once they have done so they do not go on feeling it anew , they merely remember and repeat the external movements , intonations , and expressions they worked out at first , making this repetition without emotion . Often they are ...
Page 63
... Once this is accomplished , he can repeat it once or twice or many times . The more often he recalls it , the more deeply it will be printed on his memory , and the more deeply he will . live into it . " However , we sometimes have to ...
... Once this is accomplished , he can repeat it once or twice or many times . The more often he recalls it , the more deeply it will be printed on his memory , and the more deeply he will . live into it . " However , we sometimes have to ...
Page 136
Konstantin Stanislavsky. 7 After we had gone over the same exercise once more the Director said : " Now that you have ... once to the scene of the unhappy creature getting some joy out of the burning of the banknotes . Out of pity for him ...
Konstantin Stanislavsky. 7 After we had gone over the same exercise once more the Director said : " Now that you have ... once to the scene of the unhappy creature getting some joy out of the burning of the banknotes . Out of pity for him ...
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