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An actor prepares

Author: Konstantin Stanislavsky; Elizabeth Reynolds Hapgood; Paul Horgan; Rouben Mamoulian Collection (Library of Congress)
Publisher: New York : Theatre Arts, 1936.
Edition/Format:   Book : EnglishView all editions and formats
Database:WorldCat
Summary:
This 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.  Read more...
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Document Type: Book
All Authors / Contributors: Konstantin Stanislavsky; Elizabeth Reynolds Hapgood; Paul Horgan; Rouben Mamoulian Collection (Library of Congress)
OCLC Number: 1090036
Notes: Explains the art of acting in semi-fiction form.
Translation of Part 2 of Rabota aktera nad soboĭ.
Description: 295 pages ; 23 cm
Contents: The first test --
When acting is an art --
Action --
Imagination --
Concentration of attention --
Relaxation of muscles --
Units and objectives --
Faith and a sense of truth --
Emotion memory --
Communion --
Adaptation --
Inner motive forces --
The unbroken line --
The inner creative state --
The super-objective --
On the threshold of the subconscious.
Other Titles: Rabota aktera nad soboī.
Responsibility: by Constantin Stanislavski ; translated by Elizabeth Reynolds Hapgood.

Abstract:

This 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.

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