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Review
–Richard Monette, Stratford artistic director
WE WERE EXCITED as we waited for our first lesson with the Director, Tortsov, today. Read the first page
Concordance
Front Cover | Copyright | Table of Contents | Excerpt
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Most helpful customer reviews
5.0 out of 5 stars
An absolute must for actors!,
By
This review is from: An Actor Prepares (Paperback)
This book covers everything you could ever want to know about acting. If you want to be an actor or actress then all you have to do is read this book, and you're there. This book covers every possible technique you will ever need on the stage! Stanislavski takes on the role as a teacher for his students in this book, but the fact is that he is both the actors and the teacher. He uses the students to ask the questions you are wondering about, and answers them as the teacher. His discriptions are so good that you sometimes wonder if you are really there. The only thing that makes you sure is that he can't give you feedback on your efforts at home. But apart from that it is just like having a very knowledgable teacher of your own, that can answer all the questions you have about acting, and then some. It is an awesome book. A must have for everyone!
1 of 1 people found the following review helpful
3.0 out of 5 stars
A Must Avoid!,
By the wizard of uz (Studio City, CA United States) - See all my reviews
This review is from: An Actor Prepares (Paperback)
Just Kidding.Every actor should sit through this one and then balance it off by reading David Mamet's 'True and False' or for a better if less vehement critique Hornby's outstanding 'The End of Acting' Personally, whenever I feel it would have been a happier world if Stanislavski had never been born I realize I've been spending too much time with film actors and so I go out and see bad theater. ( Not out of masochism it's just that if you see enough theater you're bound to run into some turkeys) Usually the reason it's bad is because of some sin Constantin ranted against. Ranting is actually an appropiate word to describe the style of his writings. He's not theorizing, he's discovered The Organic Truth Of The Uiverse, etc. All this dogmatizing is forgivable when one realizes it's the oupouring of a Slavic soul, but it does tend to eclipse the fact that his system is--stripped of all the hyperbole--based upon, of all things, logic. What's the objective? Ok, play that. Or if you wish amore detailed dissertation: To [...] with what you're feeling. Play the objective. Otherwise you may weep and rave about but fail to find the brooch pinned to the curtain, like the student actress in this book. Now does it work? Well, if you have faith in it. . . The progression (some would say the degeneration) of Stanislavski in the US goes something like this: Charles Conrad (who taught for Meisner and never wrote anything, his is the Zen-style of Stanislavski) to Sandford Meisner (who taught for Strasberg and wrote an unintelligible book but who is much admired for getting method actors off their introspective derrieres and on their feet) Lee Strasberg who, unlike Stella Adler never met The Master himself, so felt free to um.. theorize even further, and Michael Checkhov, (the only great actor of the bunch who Stan considered his best student even though he rejected the system) whose mystical ideas are floating somewhere in the stratosphere. Strasberg, by far the most influential, founded Method Acting (not to be confused with the Stanislavski System or 'The Method of Physical Action ' a short treatise in Creating a Role ) which emphasized remembered mamory a.k.a. emotional memory which at times superseded the objective by demanding a pavlovian type of identification/ conection which would ensure real tears. In away he set theater back to before 'finding the brooch' Later, Stanislavski himelf rejected the emotional memory/pavlovian experiment after many of his actors started freaking out.. The main moral of an Actor Prepares is that if you're going to write a world changing treatise on acting, it helps if you've got a genius playwright like Michael's uncle whose palys you can produce. The second is to play the--oops said that already. May I also humbly recommend Mike Green's 'The Art of Coarse Acting' Shurtleff's 'Audition' Keith Johnstone's 'Impro' and Klaus Kinski's bio, for a sense of, if not sanity, at least a healthy dose of skeptical heresy?
4.0 out of 5 stars
Very Informative,
By A Customer
This review is from: An Actor Prepares (Paperback)
This book really backgrounds & outlines the actor's process. It is a must-have for aspiring artists. Don't let the wordy, overly detailed prose discourage. For the valuable info if provides, it is worth it.
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