By Konstantin Stanislavski
Stanislavski’s ‘system’ has ruled actor-training within the West in view that his writings have been first translated into English within the Twenties and 30s. His systematic try to define a psycho-physical method for appearing single-handedly revolutionized criteria of appearing within the theatre.
Until now, readers and scholars have needed to deal with erroneous, deceptive and difficult-to-read English-language models. many of the mistranslations have led to profound distortions within the method his process has been interpreted and taught. finally, Jean Benedetti has succeeded in translating Stanislavski’s large guide right into a vigorous, interesting and actual textual content in English. He has remained devoted to the author's unique intentions, placing the 2 books formerly referred to as An Actor Prepares and Building A Character again jointly into one quantity, and in a colloquial and readable sort for trendy actors.
The result's an important contribution to the theatre, and a carrier to 1 of the good innovators of the 20 th century.
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Extra info for An Actor's Work: A Student's Diary
We could see the glare of the footlights in our imagination. 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.
I was tempted by the role of Mozart in Pushkin’s Mozart and Salieri and Leo by Salieri. Pasha thought he might try Schiller’s Don Carlos. 1 I settled for him because I didn’t have a copy of Pushkin at home, but I did have a Shakespeare. I was gripped with such a fever for work, such a need to get busy right away, I couldn’t waste time looking for a book. Pasha said he would play Iago. Today we were also told that the ﬁrst rehearsal had been ﬁxed for tomorrow. As soon as I got home, I shut myself in my room, settled back on the sofa, opened my book reverentially and began to read.
It acts on the eyes and ears rather than on the heart and, in consequence, more readily delights than disturbs. ‘True, acting of this kind can make a considerable impression, one which grips you while you are watching and leaves you with beautiful memories, but these impressions don’t warm your heart or go very deep. Its eﬀect is acute but transitory. You marvel, but you don’t believe. And so there are some things it cannot do. This kind of acting can manage to provide whatever is designed to startle, surprise, it can give you the theatrically beautiful, or picture-postcard feelings.