ABSTRACT

This is the classic lexicon of Stanislavski's most important concepts, all in the master's own words. Upon its publication in 1963, An Actor's Handbook quickly established itself as an essential guide for actors and directors. Culling key passages from Stanislavski's vast output, this book covers more than one hundred and fifty key concepts, among them 'Improvisation', 'External Technique', 'Magic If', 'Imaginary Objects', 'Discipline', 'What Is My System?' and 'Stage Fright'.This reissued, attractively packaged edition will be an essential book for any performer.

letter 7A|22 pages

entry |1 pages

Accentuation

entry |4 pages

Action

entry |2 pages

Actor as Master of his Art

entry |1 pages

Actor as True Artist

entry |1 pages

Actor in his Role

entry |3 pages

Actor in Opera

entry |1 pages

Actor in the Films

entry |1 pages

Actor in the Theatre

entry |1 pages

Actors Use their Own Feelings

entry |1 pages

Actuality on the Stage

entry |2 pages

Adaptation

entry |1 pages

Adjustments

entry |1 pages

Affective Memory

entry |1 pages

Amateur Attitude

entry |2 pages

Analysis

entry |2 pages

Aphorism of Pushkin

entry |1 pages

Appraising the Facts of a Play

entry |1 pages

Artistic Enthusiasm

entry |2 pages

Art of the Actor and Art of the Director

entry |1 pages

Artistic Truth—Natural Beauty

entry |5 pages

Attention

entry |2 pages

Audience

letter 29B|3 pages

entry |1 pages

Ballet

entry |1 pages

Beats

entry |3 pages

Body Training

letter 32C|16 pages

entry |1 pages

Carping Criticism

entry |3 pages

Characterisation and Transformation

entry |2 pages

Charm

entry |1 pages

Circle of Attention

entry |2 pages

Clarity

entry |2 pages

Cliche Acting

entry |2 pages

Collective Creativeness

entry |1 pages

Communication

entry |3 pages

Communion

entry |1 pages

Concentration

entry |1 pages

Contact with the Audience

entry |1 pages

Convention

entry |1 pages

Copying

entry |1 pages

Core

entry |2 pages

Costumes and Accessories

entry |2 pages

Counteraction

entry |1 pages

Creating the Inner Life of a Role

entry |1 pages

Creative Inner State

entry |2 pages

Creative Intent of a Play

entry |1 pages

Creative Will

entry |1 pages

Critics

entry |2 pages

Crowd Scenes

letter 48D|5 pages

entry |1 pages

Dance

entry |2 pages

Director (Régisseur)

entry |2 pages

Director as Dictator

entry |1 pages

Discipline

entry |2 pages

Double Function

entry |2 pages

Drama

letter 53E|9 pages

entry |1 pages

Elements of the Inner Creative State

entry |3 pages

Emotion and Logic

entry |2 pages

Emotion Memory

entry |2 pages

Empathy and Feeling

entry |1 pages

Ensemble

entry |1 pages

Ethics in the Theatre

entry |2 pages

Exhibitionism

entry |1 pages

Exploiters of Art

entry |2 pages

External Technique

entry |1 pages

Eyes

letter 62F|4 pages

entry |1 pages

Face

entry |2 pages

Faith

entry |1 pages

Fantasy

entry |1 pages

Fencing

entry |1 pages

Fingers

entry |1 pages

Finish

entry |2 pages

First Acquaintance with a Play

letter 66G|4 pages

entry |1 pages

Genius

entry |2 pages

Gesture

entry |1 pages

Given Circumstances

entry |3 pages

Grotesque

letter 70H|3 pages

entry |1 pages

Habits

entry |2 pages

Here and Now

entry |1 pages

High-Tension Acting

entry |2 pages

Home-Work

letter 73I|15 pages

entry |1 pages

“I am”

entry |2 pages

Ideal Artist

entry |1 pages

Identification

entry |1 pages

Imaginary Objects

entry |2 pages

Imagination

entry |1 pages

Imitating

entry |1 pages

Imitation

entry |1 pages

Immobility

entry |2 pages

Improvisation

entry |2 pages

Inner Ardour

entry |1 pages

Inner Content

entry |2 pages

Inner Creative State on the Stage

entry |1 pages

Inner Images and Hearing

entry |1 pages

Inner Life of a Role

entry |2 pages

Inner Motive Forces

entry |1 pages

Inner Tension

entry |1 pages

Inner Tone

entry |2 pages

Inner Vision

entry |2 pages

Inspiration

entry |2 pages

“Inspiration” Actors

entry |2 pages

Intonations and Punctuation

entry |1 pages

Intuition

letter 88J|1 pages

entry |1 pages

Justification

letter 89K|1 pages

entry |1 pages

Kernel of a Play or Part

letter 90L|4 pages

entry |1 pages

Limitations

entry |1 pages

Line of Physical Being

entry |2 pages

Living a Part

entry |1 pages

Living Image

entry |2 pages

Logic and Continuity

letter 94M|6 pages

entry |1 pages

Magic if

entry |1 pages

Make-Up

entry |2 pages

Material for Creativeness

entry |1 pages

Measure—Proportion

entry |2 pages

Mechanical Acting

entry |1 pages

Memory

entry |1 pages

Method

entry |1 pages

Mirror, Use of

entry |1 pages

Mise en Scène

entry |1 pages

Mob Scenes

entry |1 pages

Mood

entry |1 pages

Muscular Tension

letter 100N|3 pages

entry |1 pages

Naïveté

entry |2 pages

Naturalism

entry |2 pages

Nature

letter 103O|3 pages

entry |2 pages

Objectives

entry |1 pages

Object of Attention

entry |2 pages

Observation

letter 106P|10 pages

entry |1 pages

Pauses in Speech

entry |2 pages

Performance

entry |2 pages

Performing “In General”

entry |2 pages

Perspective in Character Building

entry |1 pages

Physical Actions

entry |1 pages

Physical Attention

entry |1 pages

Planes of Acting

entry |2 pages

Plasticity of Motion

entry |2 pages

Playwright Dominates

entry |1 pages

Plot

entry |1 pages

Pre-Performance Preparation

entry |1 pages

Proportion, Sense of

entry |1 pages

Proposed Circumstances

entry |1 pages

Psycho-Technique

entry |1 pages

Public Solitude

letter 116R|7 pages

entry |1 pages

Realism

entry |1 pages

Régisseur

entry |2 pages

Rehearsal

entry |1 pages

Relaxation of Muscles

entry |1 pages

Repeated Feelings

entry |2 pages

“Representation” Acting

entry |2 pages

Restraint in Gestures

entry |2 pages

Role Inside the Actor

entry |1 pages

Rubber Stamp

letter 123S|16 pages

entry |1 pages

Salvini, Tommaso

entry |1 pages

Scene Designer Dominates

entry |1 pages

Scenery and Properties

entry |2 pages

Score of a Role

entry |1 pages

Self-Criticism

entry |1 pages

Sense of Truth on the Stage

entry |1 pages

Sensory Attention

entry |1 pages

Sincerity of Emotions

entry |2 pages

Soliloquy

entry |2 pages

Speech

entry |3 pages

Speech Tempo-Rhythm

entry |1 pages

Spiritual Realism

entry |1 pages

Spoken Lines

entry |1 pages

Spontaneity

entry |2 pages

Stage Fright

entry |1 pages

Stage Settings

entry |1 pages

Stimuli to Emotion Memory

entry |2 pages

Subconscious

entry |2 pages

Subtext

entry |2 pages

Super-Objective

entry |1 pages

Symbolism

letter 139T|15 pages

entry |2 pages

Talent

entry |1 pages

Technique

entry |2 pages

Tempo-Rhythm in Movement

entry |2 pages

Terminology

entry |1 pages

Text

entry |1 pages

Theatre

entry |2 pages

Theatre Studio

entry |2 pages

Theatrical Emotions

entry |2 pages

Through Line of Action

entry |2 pages

Traditions

entry |2 pages

Tragedy

entry |2 pages

Tricks—Effective Adaptations

entry |2 pages

True Acting

entry |2 pages

Tumbling

entry |1 pages

Type-Casting

entry |3 pages

Types

letter 154U|2 pages

entry |1 pages

Unbroken Line

entry |2 pages

Units, Episodes

entry |1 pages

Untruth on the Stage

letter 156V|2 pages

entry |2 pages

Voice

entry |1 pages

Voice Volume

letter 158W|3 pages

entry |1 pages

Walking on the Stage

entry |3 pages

What is my System?