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.
TABLE OF CONTENTS
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?