By Konstantin Stanislavski, Jean Benedetti
An Actor’s paintings on a Role is Konstantin Stanislavsky’s vintage exploration of the practice session strategy, using the concepts of his seminal actor education method to the duty of bringing lifestyles and fact to one’s position.
Originally released over part a century in the past as Creating a Role, this e-book 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 contains Stanislavski’s unique teachings, yet can also be offered with worthy supplementary fabric within the form of transcripts and notes from the rehearsals themselves, reconfirming The approach because the cornerstone of actor education.
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Additional resources for An actor's work on a role
With a stuﬀed head and empty heart the actor goes out on stage and simply can’t 45 46 drafts 1929–1937 do anything. More months are needed to get rid of all that is superﬂuous, to select and assimilate the essential, for him to discover himself – bit by bit, let us hope – in the part. ‘The question then arises whether it is right to force a part in the early stages when it is important to keep it fresh. Is it any good imposing ideas, judgements, perceptions about the part when the mind of the creative artist has not yet been opened up?
He needs someone at his side who can make up for what he lacks, an aide who can be entrusted with a commission to the Doge or the senators. He needs someone who can write a letter or explain a military theory which he does not understand to him. Would Iago be able to do that? Of course, Cassio, who is educated, is much more suitable. Cassio is Florentine, and they, at the time, were like the Parisians today, the epitome of elegance and sophistication. How could Iago take a message to Brabantio or arrange a secret rendezvous with Desdemona?
Besides which, the general is not a man of culture and learning. He needs someone at his side who can make up for what he lacks, an aide who can be entrusted with a commission to the Doge or the senators. He needs someone who can write a letter or explain a military theory which he does not understand to him. Would Iago be able to do that? Of course, Cassio, who is educated, is much more suitable. Cassio is Florentine, and they, at the time, were like the Parisians today, the epitome of elegance and sophistication.