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An Actor Prepares (Bloomsbury Revelations) Paperback – 25 Apr 2013

4.4 out of 5 stars 29 customer reviews

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Product details

  • Paperback: 288 pages
  • Publisher: Bloomsbury Academic; Reprint edition (25 April 2013)
  • Language: English
  • ISBN-10: 1780938438
  • ISBN-13: 978-1780938431
  • Product Dimensions: 15.4 x 1.6 x 21.8 cm
  • Average Customer Review: 4.4 out of 5 stars  See all reviews (29 customer reviews)
  • Amazon Bestsellers Rank: 5,848 in Books (See Top 100 in Books)
  • See Complete Table of Contents

Product Description

Review

[O]ne of the most inspired and inspiring manifestos of our art that I know. --This text refers to an out of print or unavailable edition of this title.

About the Author

Konstantin Stanislavski (1863-1938) was a Russian director who sought 'inner realism' by insisting that his actors find the truth within themselves and 'become' the characters they portrayed. His work brought international fame to the Moscow Art Theatre, which he had co-founded with Vladimir Nemirovich-Danchenko in 1897. During his early years at the Moscow Art Theatre, he directed the first productions of Chekhov's Uncle Vanya (1899), Three Sisters (1901) and The Cherry Orchard (1904) as well as a series of celebrated versions of Shakespeare. Stanislavski toured America with the company in 1923. After World War II, the US edition of Stanislavski's treatise An Actor Prepares (1926) became a bible of the Method school of acting.


Customer Reviews

Top Customer Reviews

Format: Paperback
Stanislavski's teachings can be quite complex if you are new to the theories within his practices. This book, An Actor Prepares, is both full of interesting dialogue between his classmates and his tutor (referred to as "The Director"). On reading the book, I found myself relating to experiences of my own. He deals with what is essentially the truth of good theatre. I have studied the practices of many of the greats, Brecht, Artaud (Bless Him), and Berkoff, and have found, in my opinion, that Stanislavski is probably the greatest of them all. The book deals with all aspects of preparation for a performer, however deals directly with acting (if you are a performer, you should be able to relate no matter what). If you need a study guide for A-Level or even GCSE (if you want to get the best possible grade), An Actor prepares is the source text for you. ...It can really make a difference between good acting/studying/teaching. After finishing An Actor Prepares recently, I am moving on the purchase the other big names of Stanislavski, 'Building A Character' and 'Creating a Role', well worth the read!!
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By G. Stephens VINE VOICE on 15 Feb. 2005
Format: Paperback
This is a truly amazing book. I would highly recommend this to anyone who wishes to go beyond the classical approach to theatre and get to grips with the essence of a play and a character. This book is like the actor's Bible and really shows how you can get to truth in your acting in a comprehensive, lesson by lesson approach by one of the greatest acting teachers whose work has been continued to this day, inspiring actors such as the great Marlon Brando, Robert de Niro, Dustin Hoffman etc.
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Although I found the content of the book eye-opening and interesting, I was hugely disappointed with this particular edition. At first glance the book seems beautifully published (I love the feel of the cover and design looks clean) but it is littered with typos which begin already in the note by the translator. There is something cringe-inducing in a book about acting that misspells Molière and Comédie-Française even before it properly begins. One could overlook this given that these are foreign names but the entire content looks like somebody scanned an analogue copy of the book that had been published using a serif font, run an OCR, changed the font and published the result without giving it even a quick read-through which gave rise to plenty of annoying little mistakes like "arid" instead of "and" or "acton" or instead of "actors". I was looking forward to buying the other two Stanislavski books published in the series but instead, I am now on a lookout for their older editions and will not go near the Bloomsbury Revelations series again.
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Format: Paperback
Stanislavski, was a pioneer in the way we see acting today. He believed the character was what an actor really needed to get into the mind of aswell as learning lines and cues. ( This is the reviewer's son, as it is in most-reviews).

I started reading the book in the summer of 2009, and found it rather challenging. I found it hard to make sense of at time's because it was too long, and the concept of a story distracted me from seeing what the book was trying to teach. It' a good idea trying to make the book more interesting by involvement of different character's but it was seen through the eye's of a student rather than the teacher.

There is in me much respect for Stanislavski who has influenced my favourite techniques (Michael Chekhov and Uta Hagen). However using personal emotions of the past was very wrong. I was on-stage once and I took a sad memory as I had to perform a monologue and I burst into tears' before it was my cue, and I couldn't control myself. I received many round's of applause after, but inside me I knew what a mistake I had made.

This book is a godo starting-point though for beginning actor's but once you have made sense of the method, I suggest you experiment different techniques until you find the one that's right for you. Every actor has a different way of acting, so go out there and give it all you've got!
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Format: Paperback
Our cinemas and theatres would be places of great delight if actors both amateur and professional would really take Stanislavski's advice to heart. The book is just as relevant to public speakers and indeed ordinary people who are concerned to present themselves convincingly. Both edifying and entertaining. Andrew Crowe
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Format: Paperback Verified Purchase
So, the book - wonderful, I recommend it to everybody interested in performance, but the Bloomsbury Revelations edition is appalling! Spelling mistakes all over the place, seriously everywhere! And this isn't just me being a pedant, there are occasional spelling mistakes in a lot of books which is normally not a problem, however here it is rampant. Another reviewer mentions the same problem so essentially - avoid this edition like the plague!
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Every page, every situation and exercise described, is full of truth, useful, practical, full of wisdom and interesting to be reading...! I was astonished to find so much in this book, everything so evident, but the kind of evidence you have to be told before you take conscience of it...
Useful both for students and people interested in theatre or art in general.
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