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
Results 1-3 of 35
Page 8
... tried to attach some hair . The lacquer pricked my skin and the hair stuck straight up from my face . I tried one wig after another . All , put on a face without make - up , were too obvious . Next I tried to wash off what little make ...
... tried to attach some hair . The lacquer pricked my skin and the hair stuck straight up from my face . I tried one wig after another . All , put on a face without make - up , were too obvious . Next I tried to wash off what little make ...
Page 174
... tried to find the reason for this , I decided that I must go over in detail everything that happened to me the entire day before my appearance in the evening . " The first item was that I received a shockingly big bill from my tailor ...
... tried to find the reason for this , I decided that I must go over in detail everything that happened to me the entire day before my appearance in the evening . " The first item was that I received a shockingly big bill from my tailor ...
Page 215
... tried another and a third , hoping to find the most convincing way to penetrate to the heart of her problem . " You must learn to adapt yourselves to circumstances , to time , and to each individual person . If you are called upon to ...
... tried another and a third , hoping to find the most convincing way to penetrate to the heart of her problem . " You must learn to adapt yourselves to circumstances , to time , and to each individual person . If you are called upon to ...
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