By Konstantin Stanislavski, Jean Benedetti
An Actor’s paintings on a Role is Konstantin Stanislavsky’s vintage exploration of the practice session strategy, utilising the innovations of his seminal actor education method to the duty of bringing lifestyles and fact to one’s function.
Originally released over part a century in the past as Creating a Role, this booklet grew to become 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 beneficial supplementary fabric within the form of transcripts and notes from the rehearsals themselves, reconfirming The procedure because the cornerstone of actor education.
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Extra resources for An actor's work on a role
Example text
Othello 1930–1932 OTHELLO PRODUCTION PLAN (1929–1930) Extracts Stanislavski’s production plan was written in 1929–1930 at the same time as he was drafting the chapters for Work on a Role. He was convalescing in Nice at the time and therefore wrote out, as in his early period, details of the stage action interspersed with advice on using what came to be known as the Method of Physical Action. Some advice is addressed directly to Leonidov who was playing the lead role and others. These comments need to be read in conjunction with the draft chapters in diary form since they are essentially teaching.
I do not in fact like the words ‘Ha! false to me. ) What do the words mean with the repeated ‘To me’? ” ’ I would have done anything to give her what she wants. I would have gone away, or perhaps stayed to watch over her. But how could she repay my gift of myself by betraying, deceiving me? I maintain that Othello is not the typical jealous man. Petty jealousy, which is the way Othello is usually played, belongs to Iago. I now see that Iago is really jealous of Emilia in a base, vulgar way. Othello has a noble heart.
Desdemona is upset. With her aristocratic manner she makes sure guests do not stay too long after the meal. The Moor is tired. He has only returned from a campaign the day before. The wife pays court to her husband as on their second day of marriage. It is the first time he has been ill. She lightly speaks tender words. But Othello receives them badly. To distract him Desdemona speaks of this and that and among other things, without thinking, starts talking about Cassio. Her feminine pride is involved.