Download An Actor's Work: A Student's Diary by Konstantin Stanislavski PDF

By Konstantin Stanislavski

Stanislavski’s ‘system’ has ruled actor-training within the West due to the fact his writings have been first translated into English within the Nineteen Twenties and 30s. His systematic try and define a psycho-physical procedure for appearing single-handedly revolutionized criteria of performing within the theatre.

Until now, readers and scholars have needed to deal with faulty, deceptive and difficult-to-read English-language types. a number of the mistranslations have ended in profound distortions within the manner his approach has been interpreted and taught. finally, Jean Benedetti has succeeded in translating Stanislavski’s large guide right into a energetic, attention-grabbing and actual textual content in English. He has remained devoted to the author's unique intentions, placing the 2 books formerly often called An Actor Prepares and Building A Character again jointly into one quantity, and in a colloquial and readable kind for contemporary actors.

The result's an incredible contribution to the theatre, and a carrier to 1 of the nice innovators of the 20 th century.

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Extra info for An Actor's Work: A Student's Diary

Example text

The actor experiences or creates on inspiration, in a kind of improvisation. ’ 21 22 year one: experiencing ‘I don’t know . ’ ‘Well I do. ’ replied Tortsov. ‘Nature needs the support of a well-developed psychotechnique. But you have not acquired that yet, any more than those instinctive actors, who see no need for technique at all. They, like you, believe in inspiration alone. And if that should fail, they, and you, have nothing with which to fill the gaps, the dead spots in the acting, the places which have not been experienced.

All I know is that they were unforgettable moments, and that’s the only way I want to act, and I am ready to give myself body and soul to that kind of acting . ’ I had to stop, otherwise I would have burst into tears. ‘What?! You don’t remember your agony as you searched for the stage as art and stock-in-trade something terrible? You don’t remember how your hands, your eyes and your whole being darted here and there, looking for somewhere to go and something to hold on to? ’ Tortsov enquired. ‘Yes, now that you tell me, I think I am beginning to remember how I felt,’ I admitted.

Very soon the showing seemed attractive, useful, almost vital. Our hearts beat faster at the thought of it. At first Paul Shustov, Leo Pushchin and I were very moderate in our 6 year one: experiencing ambitions. We thought of short sketches and frothy little comedies. We thought that was all we could handle. But all round us the names of great Russian writers – Gogol, Ostrovski, Chekhov – and then of masters of world literature were being bandied about more and more confidently, so that almost before we knew it, moderation was far behind us.

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