Abstract
When Constantin Stanislavski'sAn Actor Preparesfirst appeared in English translation in 1936, the Moscow Art Theater had already made a great impact on American theatre. Particularly influential in the Soviet director's theories of acting was his concept of emotion memory. InAn Actor Prepares, the young actor, Kostya, tries to understand how to access the “memory of life” rather than the “theatrical archives of his mind” and has an epiphany at the moment when he recalls and relives the violence of an isolated vehicular accident that had dismembered its victim:
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