By Konstantin Stanislavski

Stanislavski’s ‘system’ has ruled actor-training within the West on account 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 take care of erroneous, deceptive and difficult-to-read English-language models. a number of the mistranslations have led to profound distortions within the approach his process 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 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 sort for latest actors.

The result's an immense contribution to the theatre, and a provider to 1 of the good innovators of the 20th century.

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

Example text

I was thrown, I stopped, and I asked him to leave me alone. .. 19.. Our second rehearsal was in the main theatre. I arrived very early and decided to do my preparatory work onstage in front of all the others rather than alone in my dressing room. Work was in full swing. They were putting up the set and arranging the props for our rehearsal. I started to get ready. It would have been absurd, given all the chaos around me, to try and find the cosiness I had known when working at home. The most important thing was for me to fit in to my new surroundings.

I put some brown on one of the brushes, but it was so hard that I had great difficulty in getting even a small speck onto it, and not a trace stayed on my skin. I swapped the little brush for a stick of colour. The result was the same. I smeared some of it on my fingers and started to apply it to my skin and, this time, managed to colour it slightly. I tried out the other colours, but only one of them, blue, stayed on properly. But blue isn’t exactly the colour you need for a Moor. I tried to put some spirit-gum on my cheek and stick a small strand of hair to it.

I have alluded in the last two classes in very broad outline to what makes up the art of experiencing,’ concluded Tortsov. ‘We firmly believe and know from our working practice, that only this kind of theatre, enriched with the actor’s own experiences as a living organism, as a human being, can communicate all the elusive nuances, the hidden depths of a role. Only acting of this kind can fully capture an the stage as art and stock-in-trade audience and bring them to a point where they not only comprehend but, more importantly, experience everything done onstage, and so enrich their own inner lives, leaving a mark that time will not erase.

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