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 136
... scene just now you did not do it in a dry , formal way , but with inner conviction . " " How was this change brought about ? " “ In a natural way : because the bond between body and soul is indivisible . The life of the one gives life ...
... scene just now you did not do it in a dry , formal way , but with inner conviction . " " How was this change brought about ? " “ In a natural way : because the bond between body and soul is indivisible . The life of the one gives life ...
Page 160
... scene so that both your mouth and ours water . To do this you are obliged to have an extremely vivid memory of some delectable food . Otherwise you will overdo the scene and not experience any gustatory pleasure . " " Where would we use ...
... scene so that both your mouth and ours water . To do this you are obliged to have an extremely vivid memory of some delectable food . Otherwise you will overdo the scene and not experience any gustatory pleasure . " " Where would we use ...
Page 263
... scene we worked over in class , with Agnes and the baby clothes . If I try , mentally , to reconcile this scene with the main theme ' All or Nothing ' I can make a great effort of the imagination and somehow bring them together . " It ...
... scene we worked over in class , with Agnes and the baby clothes . If I try , mentally , to reconcile this scene with the main theme ' All or Nothing ' I can make a great effort of the imagination and somehow bring them together . " It ...
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