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 46
... whole train , killing hundreds of people , " I retorted . " On account of one small nut ? You will never get him to believe that , " argued the Director . " The man is only making believe . He understands the na- ture of his act ...
... whole train , killing hundreds of people , " I retorted . " On account of one small nut ? You will never get him to believe that , " argued the Director . " The man is only making believe . He understands the na- ture of his act ...
Page 133
... whole scene down a more creative path . " On the other hand we cannot leave things to chance . It is important for an actor to know how to proceed under ordinary circumstances . When a whole act is too large to handle , break up . If ...
... whole scene down a more creative path . " On the other hand we cannot leave things to chance . It is important for an actor to know how to proceed under ordinary circumstances . When a whole act is too large to handle , break up . If ...
Page 135
... whole exercise from beginning to end , several times , using just the physical actions . " We followed his instructions and really did feel that the detailed bits dovetailed into one continuing whole . This se- quence was strengthened ...
... whole exercise from beginning to end , several times , using just the physical actions . " We followed his instructions and really did feel that the detailed bits dovetailed into one continuing whole . This se- quence was strengthened ...
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