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 1
... possible to judge our dra- matic quality . At first only a few favoured the proposed test . Among these were a stocky young fellow , Grisha Govorkov , who had al- ready played in some small theatre ; a tall , beautiful blonde , called ...
... possible to judge our dra- matic quality . At first only a few favoured the proposed test . Among these were a stocky young fellow , Grisha Govorkov , who had al- ready played in some small theatre ; a tall , beautiful blonde , called ...
Page 83
... possible concrete detail . If you are recalling a meal , don't just remember the food , but visualize the dishes on which it was served , and their general arrangement . Bring back all the thoughts and inner emotions which were touched ...
... possible concrete detail . If you are recalling a meal , don't just remember the food , but visualize the dishes on which it was served , and their general arrangement . Bring back all the thoughts and inner emotions which were touched ...
Page 184
... possible to look at and to see , and to look at and not to see . On the stage , you can look at , see and feel everything that is going on there . But it is also possible to look at what surrounds you on this side of the footlights ...
... possible to look at and to see , and to look at and not to see . On the stage , you can look at , see and feel everything that is going on there . But it is also possible to look at what surrounds you on this side of the footlights ...
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