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 39
Page 1
... performance in which we should act bits from plays chosen by us . His pur- pose is to see us on the stage against the background of scenery , in make - up , in costume , behind footlights , with all the acces- sories . Only then , said ...
... performance in which we should act bits from plays chosen by us . His pur- pose is to see us on the stage against the background of scenery , in make - up , in costume , behind footlights , with all the acces- sories . Only then , said ...
Page 26
... performance , or even a rehearsal , and yet they played a tragedy with the most vicious and trivial clichés . Even you have many of them , fortunately . " " Why fortunately ? " I asked . " Because they are easier to fight than strongly ...
... performance , or even a rehearsal , and yet they played a tragedy with the most vicious and trivial clichés . Even you have many of them , fortunately . " " Why fortunately ? " I asked . " Because they are easier to fight than strongly ...
Page 30
... performance had done us more harm than good . " No , " he protested , when I told him my opinion . “ The performance showed you what you must never do on the stage . " At the end of the discussion the Director announced that tomorrow ...
... performance had done us more harm than good . " No , " he protested , when I told him my opinion . “ The performance showed you what you must never do on the stage . " At the end of the discussion the Director announced that tomorrow ...
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