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 51
... play into a theatrical reality . In this process imagination plays by far the greatest part . " He pointed to the walls of his study , which were covered with every conceivable design for theatre sets . " Look , " he said to us , " all ...
... play into a theatrical reality . In this process imagination plays by far the greatest part . " He pointed to the walls of his study , which were covered with every conceivable design for theatre sets . " Look , " he said to us , " all ...
Page 109
... play , they take the place of buoys to mark the channel . This channel points the true course of creativeness and makes it possible to avoid the shallows and reefs . “ Unfortunately many actors dispense with this channel . They are ...
... play , they take the place of buoys to mark the channel . This channel points the true course of creativeness and makes it possible to avoid the shallows and reefs . “ Unfortunately many actors dispense with this channel . They are ...
Page 285
... play by Ibsen or an impressionistic play by Maeterlinck , and you will find that the subconscious element in it is incom- parably more profound , complex and individual . " All these individual reactions are of great significance . They ...
... play by Ibsen or an impressionistic play by Maeterlinck , and you will find that the subconscious element in it is incom- parably more profound , complex and individual . " All these individual reactions are of great significance . They ...
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