'Here then is more word from the master. It is a book for all theatre professionals as well as students. Whether in agreement or disagreement with it, you cannot help being stimulated and enriched by it' Robert Lewis, Founder of the Actors Studio, USA In his most famous first book, An Actor Prepares, Stanislavski dealt with the inner imaginative processes. In the second Building a Character, he concentrated on the body, the voice and other physical means of expression. In Creating a Role, the third book, he describes the elaborate preparation that precedes actual performance, with substantial analysis given to Othello and Gogol's, Inspector General. This edition, now reprinted with a new cover at a more accessible price, has stood the test of time for actors all over the world, was the original English language translation and is a classic text for every actors library. 'Creating a Role is a brilliant little treatise and a careful reading is worth several lessons in almost any English acting academy' Charles Marowitz, The Observer
'Here then is more word from the master. It is a book for all theatre professionals as well as students. Whether in agreement or disagreement with it, you cannot help being stimulated and enriched by it' Robert Lewis, Founder of the Actors Studio, USA In his most famous first book, An Actor Prepares, Stanislavski dealt with the inner imaginative processes. In the second Building a Character, he concentrated on the body, the voice and other physical means of expression. In Creating a Role, the third book, he describes the elaborate preparation that precedes actual performance, with substantial analysis given to Othello and Gogol's, Inspector General. This edition, now reprinted with a new cover at a more accessible price, has stood the test of time for actors all over the world, was the original English language translation and is a classic text for every actors library. 'Creating a Role is a brilliant little treatise and a careful reading is worth several lessons in almost any English acting academy' Charles Marowitz, The Observer
Following An Actor Prepares and Building A Character, Stanislavski here guides the actor through practical preparations for playing a role.
Foreword by Robert Lewis Translator's Note Part I: Griboyedov's Woe from Wit 1. The Period of Study 2. The Period of Emotional Experience 3. The Period of Physical Embodiment Part II: Shakespeare's Othello 4. First Acquaintance 5. Creating the Physical Life of a Role 6. Analysis 7. Checking Work Done and Summing Up Part III: Gogol's The Inspector General 8. From Physical Actions to Living Image Appendices A. Supplement to Creating A Role B. Improvisations on Othello Index.
Following An Actor Prepares and Building A Character, Stanislavski here guides the actor through practical preparations for playing a role.
Konstantin Stanislavski (1863-1938) was a Russian director who sought 'inner realism' by insisting that his actors find the truth within themselves and 'become' the characters they portrayed. His work brought international fame to the Moscow Art Theatre, which he had co-founded with Vladimir Nemirovich-Danchenko in 1897. During his early years at the Moscow Art Theatre, he directed the first productions of Chekhov's Uncle Vanya (1899), Three Sisters (1901) and The Cherry Orchard (1904) as well as a series of celebrated versions of Shakespeare. Stanislavski toured America with the company in 1923. After World War II, the US edition of Stanislavski's treatise An Actor Prepares (1926) became a bible of the Method school of acting.
Konstantin Stanislavski (1863-1938) was a Russian director who sought 'inner realism' by insisting that his actors find the truth within themselves and 'become' the characters they portrayed. His work brought international fame to the Moscow Art Theatre, which he had co-founded with Vladimir Nemirovich-Danchenko in 1897. During his early years at the Moscow Art Theatre, he directed the first productions of Chekhov's Uncle Vanya (1899), Three Sisters (1901) and The Cherry Orchard (1904) as well as a series of celebrated versions of Shakespeare. Stanislavski toured America with the company in 1923. After World War II, the US edition of Stanislavski's treatise An Actor Prepares (1926) became a bible of the Method school of acting.
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