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 12
... remember your own inner excitement ? You do not remember that your hands , your eyes and your whole body tried to throw themselves forward to grasp some- thing ; you do not remember how you bit your lips and barely restrained your tears ...
... remember your own inner excitement ? You do not remember that your hands , your eyes and your whole body tried to throw themselves forward to grasp some- thing ; you do not remember how you bit your lips and barely restrained your tears ...
Page 20
... remember and repeat the external movements , intonations , and expressions they worked out at first , making this repetition without emotion . Often they are extremely skilful in technique , and are able to get through a part with ...
... remember and repeat the external movements , intonations , and expressions they worked out at first , making this repetition without emotion . Often they are extremely skilful in technique , and are able to get through a part with ...
Page 179
... remember how we broke up that scene from Brand into units and objectives , and how the men and women in the class divided into furious opposition on it ? That was another type of inner stimulus . " ( 3 ) If you remember our ...
... remember how we broke up that scene from Brand into units and objectives , and how the men and women in the class divided into furious opposition on it ? That was another type of inner stimulus . " ( 3 ) If you remember our ...
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