By Konstantin Stanislavski, Jean Benedetti
An Actor’s paintings on a Role is Konstantin Stanislavsky’s vintage exploration of the practice session approach, employing 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 known as An Actor’s Work. In those books, now foundational texts for actors, Stanislavsky units out his mental, actual and sensible imaginative and prescient of actor training.
This new translation from well known author and critic Jean Benedetti not just contains Stanislavski’s unique teachings, yet can also be supplied with priceless supplementary fabric within the form of transcripts and notes from the rehearsals themselves, reconfirming The method because the cornerstone of actor education.
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Bit B (II) Iago: Why, how now general! no more of that Othello: Avaunt! Be gone! Thou hast set me on the rack, I swear ‘tis better to be much abused Than but to know’t a little. Title of the bit and task: to get away from Iago so as not to hear or see him. Explanation. Imagine that a surgeon has just performed an almost unbearably painful operation, and ﬁve minutes later he returns to probe the wound again. 37 38 drafts 1929–1937 The rest is self-evident. That is all there is. At every performance decide how you will get away from the pain the doctor inﬂicts.
Third, in his mind’s eye Othello sees his army, drawn up below in the square, or even further away, the battleﬁeld, so that he almost shouts towards them and says adieu in reality. Note: but this is near to emoting and so this task cannot be approached directly but only via the other two, or, rather, we can reach this in the playing. And behind all these tasks Othello seems to be saying: understand what you have done to me, this is what you have taken away from me. He is almost in anguish and to increase that, I have nothing against a technical pause14 after his speech.
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.