By Konstantin Stanislavski, Jean Benedetti
An Actor’s paintings on a Role is Konstantin Stanislavsky’s vintage exploration of the practice session strategy, utilizing the options of his seminal actor education approach 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 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 popular author and critic Jean Benedetti not just contains Stanislavski’s unique teachings, yet is usually supplied with useful supplementary fabric within the form of transcripts and notes from the rehearsals themselves, reconfirming The process because the cornerstone of actor education.
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Additional resources for An actor's work on a role
Naturally they made sure that Iago got to hear of it. But he did not pay it much attention: ﬁrst because he was not all that fond of Emilia and deceived her; second because he had no special feeling for her. He liked her plump ﬁgure, she is a good housewife, she can sing and play the lute, she was cheerful, she might have a little money, coming from a good merchant family and well brought up for the period. If there was something between her and the general (and he knew then that there was nothing) he would not be very upset.
33 34 drafts 1929–1937 By ﬁve or six in the afternoon of the same day the awareness of the love between Desdemona and Cassio is even more ﬁrmly ﬁxed in Othello’s mind and heart, the more so since he has already been able to go through all his memories of her relations with the young, handsome, intelligent lieutenant. Something that previously did not draw attention and did not arouse suspicion now seems quite diﬀerent. These suspicious details slowly mount up: (1) the trouble Cassio took to arrange a meeting between Desdemona and Othello.
After this explanation we had to do the exercise once more as Tortsov stated ‘using the tasks, the throughaction for the purposes of the supertask’. Then came comments and explanations. Tortsov said: ‘Good. You did the exercise thinking all the time about the throughaction and the supertask. ‘But thinking still doesn’t mean action for the sake of a basic goal. ‘You musn’t be drawn to the supertask intellectually. The supertask requires a fully committed, passionate sense of endeavour in all the passing actions.
An actor's work on a role by Konstantin Stanislavski, Jean Benedetti