An actor's work on a role by Konstantin Stanislavski, Jean Benedetti

By Konstantin Stanislavski, Jean Benedetti

 An Actor’s paintings on a Role is Konstantin Stanislavsky’s vintage exploration of the practice session strategy, utilising the recommendations of his seminal actor education procedure to the duty of bringing existence and fact to one’s function.

Originally released over part a century in the past as Creating a Role, this ebook turned the 3rd in a trilogy – after An Actor Prepares and Building a Character, that are now mixed in a newly translated quantity referred to as An Actor’s Work. In those books, now foundational texts for actors, Stanislavsky units out his mental, actual and useful imaginative and prescient of actor training.

This new translation from well known author and critic Jean Benedetti not just comprises Stanislavski’s unique teachings, yet can also be provided with beneficial supplementary fabric within the form of transcripts and notes from the rehearsals themselves, reconfirming The process because the cornerstone of actor education.

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21 22 drafts 1929–1937 ‘To play truly we must act upon right tasks that are like landmarks, indicating a road through the steppes. 12 But first let us divide it into corresponding major, medium and minor tasks . . ‘Rather than go into details, divide up your scene into the major bits and tasks. ’ ‘Iago arouses Othello’s jealousy’, Pau said. ’, Tortsov asked. ’ ‘Of course, in such a way that Othello believes him’, added Tortsov. ‘So you choose this goal as the best way to persuade Othello who isn’t here yet, just Kostya Nazvanov who is sitting opposite you very much alive.

He was small, plain . . But once he raised his baton, he seemed to undergo a complete transformation. For him there was no black hole, no proscenium arch, no audience. He fixed his eyes on the orchestra and they on him. And not only the orchestra but us as well, sitting in the stalls. He prepared and made us do the same. That is what is called creative concentration. He began to pull everything coming from all the musicians together with his baton. He held us tight in the palm of his hand. The baton was raised and X not only drew everyone’s attention to himself but all the countless given circumstances, the supertask on which he had long worked and must have prompted him from within with the right passion or feeling that seemed true.

Othello 1930–1932 Here is the actor’s plan for this scene: A (I) B (II) C (III) D (IV) E (V) Resolve the problem: why? Flee from Iago. Make Iago understand what he has done to him. Warn Iago: beware, you cannot trifle with me with impunity. What have I done? What filth! Task: hide, not see myself or others. F (VI) Help! Save me! I have no strength! Task: to arouse Iago’s pity, obtain his help. G (VII) The investigator. H (VIII) This is who I am now. Task: show the change in Othello. I (IX) The oath Task: Cut off all lines of retreat.

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