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  <description><![CDATA[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 <em>An Actor Prepares</em> 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 &quot;mock diary&quot; 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 &quot;the unbroken line,&quot; &quot;the magic if,&quot; 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. <em>--John Longenbaugh</em> ]]></description>
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        <name><![CDATA[Constantin Stanislavski]]></name>
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    <![CDATA[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 <em>An Actor Prepares</em> 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 &quot;mock diary&quot; 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 &quot;the unbroken line,&quot; &quot;the magic if,&quot; 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. <em>--John Longenbaugh</em> ]]>
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    <body><![CDATA[Constantin Stanislavski is known as the guru of the world's most successful actors/acting teachers, including and not limited to  <br/><br/>Ryszard Bolesławski, (founder of the American Laboratory Theatre, teacher of Lee Strasberg, who in turn, taught Dustin Hoffman,  James Dean, Marilyn Monroe, ...<a href="http://www.goodreads.com/review/show/61986878">more...</a>]]></body>
    
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    <![CDATA[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 <em>An Actor Prepares</em> 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 &quot;mock diary&quot; 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 &quot;the unbroken line,&quot; &quot;the magic if,&quot; 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. <em>--John Longenbaugh</em> ]]>
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  <read_at>Tue Jan 20 00:00:00 -0800 2009</read_at>
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    <body><![CDATA[This is quite a remarkable book.  To a casual observer it might not seem that way, but to anyone who has studied the history of theater or acting theory, &quot;An Actor Prepares&quot; is this thorough omnibus of everything you need to know about acting.<br/><br/>When I first began teaching theater...<a href="http://www.goodreads.com/review/show/42921016">more...</a>]]></body>
    
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      <review>
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    <![CDATA[An Actor Prepares]]>
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    <![CDATA[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 <em>An Actor Prepares</em> 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 &quot;mock diary&quot; 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 &quot;the unbroken line,&quot; &quot;the magic if,&quot; 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. <em>--John Longenbaugh</em> ]]>
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  <published>1970</published>
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  <read_at>Fri Nov 06 00:00:00 -0800 2009</read_at>
  <date_added>Fri Oct 09 11:53:34 -0700 2009</date_added>
  <date_updated>Fri Nov 06 11:12:19 -0800 2009</date_updated>
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    <body><![CDATA[Most first-year drama students have to read &quot;An Actor Prepares,&quot; but this book works for anyone in the fine arts. Stanislavski writes in the first person, as an actor working with other actors and a director. They are learning to pull out every memory and emotion and then use it in their w...<a href="http://www.goodreads.com/review/show/73985841">more...</a>]]></body>
    
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      <review>
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    <![CDATA[An Actor Prepares]]>
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    <![CDATA[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 <em>An Actor Prepares</em> 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 &quot;mock diary&quot; 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 &quot;the unbroken line,&quot; &quot;the magic if,&quot; 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. <em>--John Longenbaugh</em> ]]>
  </description>
  <published>1970</published>
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  <date_added>Fri Feb 08 02:16:56 -0800 2008</date_added>
  <date_updated>Fri Feb 08 02:18:22 -0800 2008</date_updated>
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    <body><![CDATA[dont' know what to give this book in the way of stars... possibly the most amazing book on acting theory ever- but can feel slightly patronizing. a must for anyone studying theatre.]]></body>
    
  <url><![CDATA[http://www.goodreads.com/review/show/14888574]]></url>
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      <review>
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    <![CDATA[An Actor Prepares]]>
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    <![CDATA[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 <em>An Actor Prepares</em> 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 &quot;mock diary&quot; 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 &quot;the unbroken line,&quot; &quot;the magic if,&quot; 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. <em>--John Longenbaugh</em> ]]>
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    <body><![CDATA[It gets 4 stars for what it represents, what it have given to the world of theatre, however if I ignored that it would barely get 2 stars. The best way to see the great effect he had is by seeing what Russian theatre was like before him, basically in true Russian form, a drunken mess. You read this,...<a href="http://www.goodreads.com/review/show/13159168">more...</a>]]></body>
    
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      <review>
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    <![CDATA[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 <em>An Actor Prepares</em> 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 &quot;mock diary&quot; 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 &quot;the unbroken line,&quot; &quot;the magic if,&quot; 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. <em>--John Longenbaugh</em> ]]>
  </description>
  <published>1970</published>
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  <read_at>Tue Jun 23 00:00:00 -0700 2009</read_at>
  <date_added>Sat Apr 18 21:49:00 -0700 2009</date_added>
  <date_updated>Thu Jun 25 17:57:50 -0700 2009</date_updated>
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    <body><![CDATA[This book truly is the backbone of Western theatre practice and an essential text for anyone looking to pursue theatre work on a serious level. Stanislavski lays out what an actor's tools can be to tap into the elusive imagination, will, and feeling as well as how to use them. By the end of the book...<a href="http://www.goodreads.com/review/show/53194733">more...</a>]]></body>
    
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  <title>
    <![CDATA[An Actor Prepares]]>
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  <average_rating>3.90</average_rating>
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    <![CDATA[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 <em>An Actor Prepares</em> 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 &quot;mock diary&quot; 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 &quot;the unbroken line,&quot; &quot;the magic if,&quot; 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. <em>--John Longenbaugh</em> ]]>
  </description>
  <published>1970</published>
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    <rating>5</rating>
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  <recommended_by><![CDATA[Schmid]]></recommended_by>
  <read_at>Mon Aug 21 00:00:00 -0700 2006</read_at>
  <date_added>Fri May 09 23:51:03 -0700 2008</date_added>
  <date_updated>Sat May 17 02:12:12 -0700 2008</date_updated>
  <read_count></read_count>
    <body><![CDATA[This is definitely a must read if you plan on pursuing a career in theatre. I read this book in senior year at high school. I'll admit it was boring at times and sometimes a bit difficult to understand at that stage in my life, but it was definitely an inspiring book! There were many stories in it t...<a href="http://www.goodreads.com/review/show/21969299">more...</a>]]></body>
    
  <url><![CDATA[http://www.goodreads.com/review/show/21969299]]></url>
  <link><![CDATA[http://www.goodreads.com/review/show/21969299]]></link>
</review>
      <review>
  <id>13946816</id>
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    <name><![CDATA[Shannon]]></name>
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    <![CDATA[An Actor Prepares]]>
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  <average_rating>3.90</average_rating>
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    <![CDATA[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 <em>An Actor Prepares</em> 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 &quot;mock diary&quot; 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 &quot;the unbroken line,&quot; &quot;the magic if,&quot; 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. <em>--John Longenbaugh</em> ]]>
  </description>
  <published>1970</published>
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    <rating>4</rating>
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  <read_at>Tue May 06 01:04:02 -0700 2008</read_at>
  <date_added>Tue Jan 29 10:58:21 -0800 2008</date_added>
  <date_updated>Tue May 06 01:04:02 -0700 2008</date_updated>
  <read_count></read_count>
    <body><![CDATA[This is an essential book to read if you are pursuing a successful career or hobby in Naturalistic acting. Stanislavsky eloquently and sternly . . . prepares the reader to become _consistent_ in their truth and believability on stage. It is written as a story about a young student's journey through ...<a href="http://www.goodreads.com/review/show/13946816">more...</a>]]></body>
    
  <url><![CDATA[http://www.goodreads.com/review/show/13946816]]></url>
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      <review>
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    <name><![CDATA[Nosa]]></name>
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    <![CDATA[An Actor Prepares]]>
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    <![CDATA[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 <em>An Actor Prepares</em> 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 &quot;mock diary&quot; 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 &quot;the unbroken line,&quot; &quot;the magic if,&quot; 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. <em>--John Longenbaugh</em> ]]>
  </description>
  <published>1970</published>
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    <rating>4</rating>
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  <read_at>Sat Jul 01 00:00:00 -0700 2006</read_at>
  <date_added>Thu Jan 10 11:09:48 -0800 2008</date_added>
  <date_updated>Thu Jan 10 11:15:32 -0800 2008</date_updated>
  <read_count></read_count>
    <body><![CDATA[this book teach me about life. Its about appreciating all experiences, all senses, not just for the sake of acting on stage, but also in life.<br/><br/>It is a psychological aspect of acting, and at the same time a method of observation, reducing stress, contemplating, concentrating, and of course...<a href="http://www.goodreads.com/review/show/12165296">more...</a>]]></body>
    
  <url><![CDATA[http://www.goodreads.com/review/show/12165296]]></url>
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      <review>
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    <name><![CDATA[Yanni]]></name>
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    <![CDATA[An Actor Prepares]]>
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    <![CDATA[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 <em>An Actor Prepares</em> 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 &quot;mock diary&quot; 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 &quot;the unbroken line,&quot; &quot;the magic if,&quot; 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. <em>--John Longenbaugh</em> ]]>
  </description>
  <published>1970</published>
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  <date_added>Fri Jan 09 14:27:22 -0800 2009</date_added>
  <date_updated>Fri Jan 09 14:31:01 -0800 2009</date_updated>
  <read_count></read_count>
    <body><![CDATA[Fascinating to read - an incredible insight into the thesbian world can be gained by reading this classic textbook.]]></body>
    
  <url><![CDATA[http://www.goodreads.com/review/show/42497816]]></url>
  <link><![CDATA[http://www.goodreads.com/review/show/42497816]]></link>
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      <review>
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    <![CDATA[An Actor Prepares]]>
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    <![CDATA[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 <em>An Actor Prepares</em> 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 &quot;mock diary&quot; 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 &quot;the unbroken line,&quot; &quot;the magic if,&quot; 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. <em>--John Longenbaugh</em> ]]>
  </description>
  <published>1970</published>
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  <date_added>Thu Sep 24 21:24:05 -0700 2009</date_added>
  <date_updated>Thu Sep 24 21:24:33 -0700 2009</date_updated>
  <read_count></read_count>
    <body><![CDATA[I hate method acting. Why can't they just do a job like everyone else?]]></body>
    
  <url><![CDATA[http://www.goodreads.com/review/show/72416158]]></url>
  <link><![CDATA[http://www.goodreads.com/review/show/72416158]]></link>
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      <review>
  <id>19045038</id>
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    <name><![CDATA[Kathy P]]></name>
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    <![CDATA[An Actor Prepares]]>
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  <average_rating>3.90</average_rating>
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    <![CDATA[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 <em>An Actor Prepares</em> 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 &quot;mock diary&quot; 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 &quot;the unbroken line,&quot; &quot;the magic if,&quot; 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. <em>--John Longenbaugh</em> ]]>
  </description>
  <published>1970</published>
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    <rating>3</rating>
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  <read_at>Tue Apr 22 00:00:00 -0700 2008</read_at>
  <date_added>Sun Mar 30 18:39:20 -0700 2008</date_added>
  <date_updated>Tue Apr 22 04:27:28 -0700 2008</date_updated>
  <read_count></read_count>
    <body><![CDATA[No, I'm not an actor and have no interest in being one. I am The Audience and want to find out more about how they do it.<br/><br/>Acting is hard work ... I knew that, but Stanislavski's intense discussion of the preparation process is revealing. It's just a glimpse into the passion, the dedicatio...<a href="http://www.goodreads.com/review/show/19045038">more...</a>]]></body>
    
  <url><![CDATA[http://www.goodreads.com/review/show/19045038]]></url>
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      <review>
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    <![CDATA[An Actor Prepares]]>
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  <average_rating>3.90</average_rating>
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    <![CDATA[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 <em>An Actor Prepares</em> 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 &quot;mock diary&quot; 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 &quot;the unbroken line,&quot; &quot;the magic if,&quot; 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. <em>--John Longenbaugh</em> ]]>
  </description>
  <published>1970</published>
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  <read_at>Thu Jul 16 19:11:23 -0700 2009</read_at>
  <date_added>Thu Jul 09 19:45:56 -0700 2009</date_added>
  <date_updated>Thu Jul 16 19:11:23 -0700 2009</date_updated>
  <read_count></read_count>
    <body><![CDATA[grad school reading list...]]></body>
    
  <url><![CDATA[http://www.goodreads.com/review/show/62855322]]></url>
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    <![CDATA[An Actor Prepares]]>
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    <![CDATA[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 <em>An Actor Prepares</em> 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 &quot;mock diary&quot; 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 &quot;the unbroken line,&quot; &quot;the magic if,&quot; 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. <em>--John Longenbaugh</em> ]]>
  </description>
  <published>1970</published>
</book>

    <rating>4</rating>
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  <read_at>Mon Sep 01 00:00:00 -0700 2008</read_at>
  <date_added>Wed Sep 10 14:03:57 -0700 2008</date_added>
  <date_updated>Wed Sep 17 14:23:09 -0700 2008</date_updated>
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    <body><![CDATA[This is something that I've tried to read a lot in past years, but I have to say it's a lot easier to follow now that I've been in an acting class and have some real experiences to remember as I read. None of this stuff made much sense the first time, but now almost all of it is stuff we've discusse...<a href="http://www.goodreads.com/review/show/32548681">more...</a>]]></body>
    
  <url><![CDATA[http://www.goodreads.com/review/show/32548681]]></url>
  <link><![CDATA[http://www.goodreads.com/review/show/32548681]]></link>
</review>
      <review>
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  <title>
    <![CDATA[An Actor Prepares]]>
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    <![CDATA[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 <em>An Actor Prepares</em> 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 &quot;mock diary&quot; 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 &quot;the unbroken line,&quot; &quot;the magic if,&quot; 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. <em>--John Longenbaugh</em> ]]>
  </description>
  <published>1970</published>
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    <body><![CDATA[This book made me want to vom. I didn't even get through it completely, hence the fail grade I recieved on my exam. A truly awful, like-walking-through-a-river-of-treacle-tying-to-escape-a-burning-building read.]]></body>
    
  <url><![CDATA[http://www.goodreads.com/review/show/23518774]]></url>
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      <review>
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    <name><![CDATA[Taka]]></name>
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  <title>
    <![CDATA[An Actor Prepares]]>
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  <average_rating>3.90</average_rating>
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    <![CDATA[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 <em>An Actor Prepares</em> 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 &quot;mock diary&quot; 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 &quot;the unbroken line,&quot; &quot;the magic if,&quot; 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. <em>--John Longenbaugh</em> ]]>
  </description>
  <published>1970</published>
</book>

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    <body><![CDATA[Good stuff, but couldn't keep my interest at all times...<br/><br/>will be reading it later]]></body>
    
  <url><![CDATA[http://www.goodreads.com/review/show/41390060]]></url>
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      <review>
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    <name><![CDATA[LoriGoe]]></name>
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  <title>
    <![CDATA[An Actor Prepares]]>
  </title>
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    <![CDATA[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 <em>An Actor Prepares</em> 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 &quot;mock diary&quot; 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 &quot;the unbroken line,&quot; &quot;the magic if,&quot; 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. <em>--John Longenbaugh</em> ]]>
  </description>
  <published>1970</published>
</book>

    <rating>5</rating>
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  <recommended_for><![CDATA[actors or those who want to know how we do it!]]></recommended_for>
  <recommended_by><![CDATA[]]></recommended_by>
  <read_at></read_at>
  <date_added>Thu Jun 26 09:36:31 -0700 2008</date_added>
  <date_updated>Thu Jun 26 09:39:35 -0700 2008</date_updated>
  <read_count></read_count>
    <body><![CDATA[This is the bible, Part 1 of 3 of Acting as we know it. Don't forget Building a Character and Creating a Role - it's a trilogy!]]></body>
    
  <url><![CDATA[http://www.goodreads.com/review/show/25552133]]></url>
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</review>
      <review>
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    <name><![CDATA[Amanda]]></name>
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  <title>
    <![CDATA[An Actor Prepares]]>
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  <average_rating>3.90</average_rating>
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    <![CDATA[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 <em>An Actor Prepares</em> 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 &quot;mock diary&quot; 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 &quot;the unbroken line,&quot; &quot;the magic if,&quot; 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. <em>--John Longenbaugh</em> ]]>
  </description>
  <published>1970</published>
</book>

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  <read_at>Thu Jan 01 00:00:00 -0800 1998</read_at>
  <date_added>Mon Mar 31 08:44:55 -0700 2008</date_added>
  <date_updated>Mon Mar 31 08:44:55 -0700 2008</date_updated>
  <read_count></read_count>
    <body><![CDATA[Stanislavsky is kinda boring.  But you can't get away with NOT reading this book.  Or at least skimming the chapter titles...]]></body>
    
  <url><![CDATA[http://www.goodreads.com/review/show/19094599]]></url>
  <link><![CDATA[http://www.goodreads.com/review/show/19094599]]></link>
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      <review>
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    <name><![CDATA[Michelle]]></name>
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    <![CDATA[An Actor Prepares]]>
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  <average_rating>3.90</average_rating>
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    <![CDATA[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 <em>An Actor Prepares</em> 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 &quot;mock diary&quot; 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 &quot;the unbroken line,&quot; &quot;the magic if,&quot; 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. <em>--John Longenbaugh</em> ]]>
  </description>
  <published>1970</published>
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  <date_added>Sun Jun 01 22:38:48 -0700 2008</date_added>
  <date_updated>Sun Jun 01 22:39:52 -0700 2008</date_updated>
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    <body><![CDATA[preparing for Method Acting. I still beleive in Method. I think I actually have trouble coming out of it.]]></body>
    
  <url><![CDATA[http://www.goodreads.com/review/show/23494579]]></url>
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      <review>
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    <![CDATA[An Actor Prepares]]>
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  <average_rating>3.90</average_rating>
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    <![CDATA[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 <em>An Actor Prepares</em> 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 &quot;mock diary&quot; 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 &quot;the unbroken line,&quot; &quot;the magic if,&quot; 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. <em>--John Longenbaugh</em> ]]>
  </description>
  <published>1970</published>
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  <read_at>Tue Jan 01 00:00:00 -0800 2008</read_at>
  <date_added>Mon Dec 31 10:57:37 -0800 2007</date_added>
  <date_updated>Thu Jan 10 08:32:40 -0800 2008</date_updated>
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    <body><![CDATA[I need to go to grad school.<br/><br/>For this and other revelations, I am very grateful to this book.]]></body>
    
  <url><![CDATA[http://www.goodreads.com/review/show/11342848]]></url>
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