By Konstantin Stanislavski
Stanislavski’s ‘system’ has ruled actor-training within the West when you consider that his writings have been first translated into English within the Nineteen Twenties and 30s. His systematic try and define a psycho-physical process for appearing single-handedly revolutionized criteria of appearing within the theatre.
Until now, readers and scholars have needed to cope with faulty, deceptive and difficult-to-read English-language models. a number of the mistranslations have ended in profound distortions within the method his method has been interpreted and taught. ultimately, Jean Benedetti has succeeded in translating Stanislavski’s large handbook right into a full of life, attention-grabbing and exact 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 type for modern-day actors.
The result's a tremendous contribution to the theatre, and a provider to 1 of the good innovators of the 20 th century.
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Additional resources for An Actor's Work: A Student's Diary
The most important thing was for me to ﬁt in to my new surroundings. So I marched downstage and stared at the ominous black hole so as to get used to it and free myself from the draw of the auditorium. But the more I tried to amateurism ignore it, the more I thought about it, the greater the draw from the ominous blackness beyond the picture-frame became. At that moment a stagehand who had come up beside me dropped some nails. I started to help him pick them up. And suddenly I felt ﬁne, almost at home on the vast stage.
And what happened? I was in trouble from the moment I opened my mouth. I forgot the lines, the proper inﬂections, and I stopped dead. I had to get back fast to the mises-en-scène I had set. It was obvious I couldn’t play my savage except by using the ways I knew. But I wasn’t in control of them, they were in control of me. What was this? Slavery? .. 19.. On the whole today’s rehearsal felt better. I am getting used to the place where we work and the people we work with. Most of all, opposites are beginning to come together.
I would have been happy to do without them, or to have cut them by half. Not only the words but also the author’s thoughts, which were not mine, as well as the actions he indicated, limited the freedom I had enjoyed when studying at home. Even more unsettling was the fact that I didn’t recognize my own voice. In fact neither the mise-en-scène2 nor the idea of the character I had worked out at home had anything to do with Shakespeare’s play at all. How, for example, was I to use the ﬂashing teeth, the rolling eyes, the ‘tigerish’ movements, which were my way into the part, in the comparatively quiet opening scene between Iago and Othello?