Friends of Stanislavsky have long known that he wished to leave a record of the methods by which the Moscow Art Company was built up, in such a form that it could be of use to actors and producers after his death. The first time he mentioned this wish to me he spoke of the projected work as a grammar of acting. In his own My Life in Art, and in similar expressions by persons who studied under him, a wholly different contribution has been made, one much easier, and in his opinion of lesser importance. A manual, a handbook, a working textbook has been his dream, and a most difficult one to realize.
Many of the earliest books, particularly those dating back to the 1900s and before, are now extremely scarce and increasingly expensive. We are republishing these classic works in affordable, high quality, modern editions, using the original text and artwork.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 LongenbaughFriends of Stanislavsky have long known that he wished to leave a record of the methods by which the Moscow Art Company was built up, in such a form that it could be of use to actors and producers after his death. The first time he mentioned this wish to me he spoke of the projected work as a grammar of acting. In his own My Life in Art, and in similar expressions by persons who studied under him, a wholly different contribution has been made, one much easier, and in his opinion of lesser importance. A manual, a handbook, a working textbook has been his dream, and a most difficult one to realize.
Many of the earliest books, particularly those dating back to the 1900s and before, are now extremely scarce and increasingly expensive. We are republishing these classic works in affordable, high quality, modern editions, using the original text and artwork. .
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