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 13
... subconscious gives us inspiration ; yet we apparently can use this subconscious only through our con- sciousness , which kills it . " Fortunately there is a way out . We find the solution in an oblique instead of a direct approach . In ...
... subconscious gives us inspiration ; yet we apparently can use this subconscious only through our con- sciousness , which kills it . " Fortunately there is a way out . We find the solution in an oblique instead of a direct approach . In ...
Page 223
... subconscious . " From some stimulus or other an idea comes into your head . At that instant it crosses the subconscious . Next you consider that idea , and later when both the idea and your thoughts about it are put into tangible ...
... subconscious . " From some stimulus or other an idea comes into your head . At that instant it crosses the subconscious . Next you consider that idea , and later when both the idea and your thoughts about it are put into tangible ...
Page 266
... subconscious continues to work . Therefore , the fundamental objective of our psycho - technique is to put us in a creative state in which our subconscious will function naturally . " It is fair to say that this technique bears the same ...
... subconscious continues to work . Therefore , the fundamental objective of our psycho - technique is to put us in a creative state in which our subconscious will function naturally . " It is fair to say that this technique bears the same ...
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