By Konstantin Stanislavski
Stanislavski’s ‘system’ has ruled actor-training within the West because his writings have been first translated into English within the Twenties and 30s. His systematic try and define a psycho-physical process for performing single-handedly revolutionized criteria of appearing within the theatre.
Until now, readers and scholars have needed to take care of misguided, deceptive and difficult-to-read English-language types. many of the mistranslations have led to profound distortions within the manner his process has been interpreted and taught. finally, Jean Benedetti has succeeded in translating Stanislavski’s large handbook right into a full of life, interesting and exact textual content in English. He has remained devoted to the author's unique intentions, placing the 2 books formerly often called An Actor Prepares and Building A Character again jointly into one quantity, and in a colloquial and readable sort for modern day actors.
The result's an incredible contribution to the theatre, and a provider to at least one of the nice innovators of the 20 th century.
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Additional resources for An Actor's Work: A Student's Diary
Some moments weren’t at all bad. I worked for ﬁve hours without noticing. That’s not something you do because you’re forced to! In moments of artistic inspiration, hours seem like minutes. This was clear proof that the mood I had experienced was indeed genuine inspiration! amateurism Before taking oﬀ my costume, I took advantage of the fact that everyone in the apartment was asleep and slipped out into the empty hall where there was a large mirror. I switched on the light and took a look at myself.
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. So I marched downstage and stared at the ominous black hole so as to get used to it and free myself from the draw of the auditorium.
Once again we heard Tortsov’s comments on the show. First he turned to Pasha. ’ exclaimed Pasha, in great surprise. ’ the students asked. ‘It is the second school of acting and its nature can best be explained by the person who demonstrated it in one or two successful moments in the show. ‘Pasha! ’ Tortsov said, turning to him once more. ‘I knew something from my uncle about our approach, so I went straight to the inner content of the role and spent a long time delving into it,’ said Pasha by way of justiﬁcation.
An Actor's Work: A Student's Diary by Konstantin Stanislavski