An Actor Prepares

Stanislavsky, Constantin

ISBN 10: 1447439325 / ISBN 13: 9781447439325

Published by Read & Co. Books, 2011

About this Item

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Bibliographic Details

• Title: An Actor Prepares
• Publisher: Read & Co. Books
• Publication Date: 2011
• Language: English
• ISBN 10: 1447439325
• ISBN 13: 9781447439325
• Binding: paperback
• Condition: Good

About this title

Synopsis

A must-read for aspiring actors, An Actor Prepares is an essential guide to acting and character performance, written by the father of 'method acting' Constantin Stanislavski.

First published in 1936, this volume is brimming with inspiring methods for anyone interested in the craft of acting. In the book, Stanislavski teaches the fundamentals of his 'system' of learning to act, detailing the essentials of training, preparation and technique, and providing readers with the building blocks of great character acting. The narrative format in which it is written allows for classic techniques to be bought into practice today.

The contents of this volume includes:

- When Acting is an Art

- Concentration of Attention

- Relaxation of Muscles

- Emotion Memory

- The Inner Creative State

- On the Threshold of the Subconscious

Stanislavski is considered the original thinker for the basis of many modern acting techniques and theories, with his method inspiring countless decades of those studying theatre. This edition by Read & Co. Books features an introductory biography of the author and is an essential text for any actor's library.

Review

So much mystery and veneration surrounds the writings of the great Russian teacher and director Stanislavski that perhaps the greatest surprise awaiting a first-time reader of An Actor Prepares is how conversational, commonsensical, and even at times funny this legendary book is. After many productions with the Moscow Arts Company, Stanislavski sought a way to introduce his new style of acting to the world outside of his rehearsal hall. The resulting book is a "mock diary" of an actor describing a series of exercises and rehearsals in which he participates. He details his own emotional and intellectual reactions to each effort, and how his superficial tricks and mannerisms begin to disappear as he increasingly gives over his conscious ego to a faith in the creative power of his subconscious. Rarely has any writer on the theater achieved the sort of lucid and inspired analysis of the acting process as Stanislavski does here, and his introduction of such now-standard concepts as "the unbroken line," "the magic if," and the idea of emotional memory has laid the groundwork for much of the great acting of the 20th century. While much excess and nonsense was to follow in the steps of Stanislavski's writings, his original texts remain invaluable, and surprisingly accessible, to any actor or student of drama. --John Longenbaugh