By Konstantin Stanislavski
Stanislavski’s ‘system’ has ruled actor-training within the West considering his writings have been first translated into English within the Nineteen Twenties and 30s. His systematic try and define a psycho-physical method for appearing single-handedly revolutionized criteria of performing within the theatre.
Until now, readers and scholars have needed to cope with erroneous, deceptive and difficult-to-read English-language types. a few of the mistranslations have ended in profound distortions within the method his approach has been interpreted and taught. eventually, Jean Benedetti has succeeded in translating Stanislavski’s large guide right into a energetic, interesting and exact textual content in English. He has remained trustworthy 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 kind for modern-day actors.
The result's an enormous contribution to the theatre, and a carrier to 1 of the nice innovators of the 20 th century.
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Additional resources for An Actor's Work: A Student's Diary
I decided to act without any gestures or movement, or pulling faces. 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.
I had a feeling of complete indiﬀerence to it all. But that mood only lasted until I got to my dressing room. Then my heart began to beat so hard it was diﬃcult to breathe. I had a feeling of nausea, of terrible exhaustion. I thought I was ill. Fine. Illness would explain away my failure in my ﬁrst appearance as an actor. What confused me more than anything onstage was the solemn hush, the order. When I stepped out of the darkness of the wings into the full glare of the footlights, the overhead spotlights, and the ﬂood-lights from 13 14 year one: experiencing the wings, I was stunned and blinded.
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. My previous way of portraying a savage had nothing to do with Shakespeare. In the early rehearsals I felt contrived when I tried to force African features into the role, but now it’s as though I had injected something into what I am doing. At least I feel less at war with the author. .. 19.. We rehearsed on the main stage today.