Konstantin Stanislavski

2022 Facsimile of the 1936 Edition. This work is the first volume of Stanislavski's trilogy on the art of acting; it explains the art of acting in semi-fiction form. Fusing psychological realism and expressionism, his exploratory exercises teach actors to evoke past emotions that draw out their vulnerability. Stanislavski here introduces such concepts as the "magic if," "emotion memory," the "unbroken line" and many more now famous rehearsal aids. This classic manual is written from the viewpoint of fictional actors taking lessons from a director (based on Stanislavski). Through the student's mistakes, questions, revelations, and struggles, Stanislavski teaches the actor about the stage, truth, and life itself. Contents: The first test -- When acting is an art -- Action -- Imagination -- Concentration of attention -- Relaxation of muscles -- Units and objectives -- Faith and a sense of truth -- Emotion memory -- Communion -- Adaptation -- Inner motive forces -- The unbroken line -- The inner creative state -- The super-objective -- On the threshold of the subconscious.

Miten roolia työstetään? Miten voi saavuttaa täydellisen sulautumisen siihen? Miten taistella kliseitä ja ennakkoasenteita vastaan? Miten lähentää näyttelijää ja kirjailijaa toisiinsa? Miten tehdä roolista näyttelijän sielulle läheinen?Venäläisen näyttelijän, ohjaajan ja pedagogin Konstantin Stanislavskin teos Näyttelijän roolityöskentely on kolmas hänen näyttelijäntyötä käsittelevistä teoksistaan. Teos julkaistaan nyt ensi kertaa suomeksi ja se kertoo, miten Stanislavskin näyttelijäntyön tekniikoita sovelletaan käytäntöön näytelmän ja roolin luomisprosessissa. Se käsittelee myös näytelmän ja roolin analysoimisen ja näyttämöllepanon metodeja. Kun näyttelijä tuo roolin luomistilanteeseen mukaan oman persoonansa, oman kokemusmaailmansa, omat tunteensa ja taitonsa, voidaan Stanislavskin mukaan puhua todellisesta näyttelijäntaiteesta. Stanislavski katsoi, että ohjaajan tulee rakentaa kaikki roolit ja koko esitys yhteistyössä näyttelijöiden kanssa. Teos sopii näyttämötaiteen opiskelijoille, näyttelijöille, ohjaajille ja kaikille teatterin ystäville.Teoksen on suomentanut ohjaaja-dramaturgi Kristiina Repo, jonka kääntämä Stanislavskin Näyttelijän työ osat 1 ja 2 palkittiin vuoden 2011 parhaana tietokirjasuomennoksena.KONSTANTIN STANISLAVSKI (1863-1938) oli venäläinen ohjaaja, näyttelijä, pedagogi ja teatteriteoreetikko. Hän perusti Moskovan taiteellisen teatterin 1897 yhdessä Vladimir Nemirovit-Dantenkon kanssa. Teatteri muistetaan mm. Anton Tehovin suurten näytelmien kantaesityksistä. Stanislavski oli luonteeltaan tarkkailija, kyselijä ja kokeilija. Hän uudisti työtapojaan jatkuvasti ja kehitti uusia metodeja vielä viimeisinä elinvuosinaankin. Tässä teoksessa hän soveltaa järjestelmäänsä käytännön roolityöskentelyyn ja esittelee kehittämäänsä fyysisten tekojen metodia.

Stanislavski’s ‘system’ has dominated actor-training in the West since his writings were first translated into English in the 1920s and 30s. His systematic attempt to outline a psycho-physical technique for acting single-handedly revolutionized standards of acting in the theatre.Until now, readers and students have had to contend with inaccurate, misleading and difficult-to-read English-language versions. Some of the mistranslations have resulted in profound distortions in the way his system has been interpreted and taught. At last, Jean Benedetti has succeeded in translating Stanislavski’s huge manual into a lively, fascinating and accurate text in English. He has remained faithful to the author's original intentions, putting the two books previously known as An Actor Prepares and Building A Character back together into one volume, and in a colloquial and readable style for today's actors.The result is a major contribution to the theatre, and a service to one of the great innovators of the twentieth century.This Routledge Classics edition includes a new Foreword by the director Richard Eyre.

An Actor’s Work on a Role is Konstantin Stanislavsky’s classic exploration of the rehearsal process, applying the techniques of his seminal actor training system to the task of bringing life and truth to one’s role. Originally published over half a century ago as Creating a Role, this book became the third in a trilogy – after An Actor Prepares and Building a Character, which are now combined in a newly translated volume called An Actor’s Work. In these books, now foundational texts for actors, Stanislavsky sets out his psychological, physical and practical vision of actor training.This new translation from renowned writer and critic Jean Benedetti not only includes Stanislavski’s original teachings, but is also furnished with invaluable supplementary material in the shape of transcripts and notes from the rehearsals themselves, reconfirming The System as the cornerstone of actor training.

An Actor’s Work on a Role is Konstantin Stanislavsky’s classic exploration of the rehearsal process, applying the techniques of his seminal actor training system to the task of bringing life and truth to one’s role. Originally published over half a century ago as Creating a Role, this book became the third in a trilogy – after An Actor Prepares and Building a Character, which are now combined in a newly translated volume called An Actor’s Work. In these books, now foundational texts for actors, Stanislavsky sets out his psychological, physical and practical vision of actor training.This new translation from renowned writer and critic Jean Benedetti not only includes Stanislavski’s original teachings, but is also furnished with invaluable supplementary material in the shape of transcripts and notes from the rehearsals themselves, reconfirming The System as the cornerstone of actor training.

Stanislavski’s ‘system’ has dominated actor-training in the West since his writings were first translated into English in the 1920s and 30s. His systematic attempt to outline a psycho-physical technique for acting single-handedly revolutionized standards of acting in the theatre.Until now, readers and students have had to contend with inaccurate, misleading and difficult-to-read English-language versions. Some of the mistranslations have resulted in profound distortions in the way his system has been interpreted and taught. At last, Jean Benedetti has succeeded in translating Stanislavski’s huge manual into a lively, fascinating and accurate text in English. He has remained faithful to the author's original intentions, putting the two books previously known as An Actor Prepares and Building A Character back together into one volume, and in a colloquial and readable style for today's actors. The result is a major contribution to the theatre, and a service to one of the great innovators of the twentieth century.

Konstantin Stanislavski was a Russian director who transformed theatre in the West with his contributions to the birth of Realist theatre and his unprecedented approach to teaching acting. He lived through extraordinary times and his unique contribution to the arts still endures in the twenty-first century. He established the Moscow Art Theatre in 1898 with, among other plays, the premiere of Chekhov's The Seagull. He also survived revolutions, lost his fortune, found wide fame in America, and lived in internal exile under Stalin's Soviet Union.Before writing his classic manual on acting, Stanislavski began writing an autobiography that he hoped would both chronicle his rich and tumultuous life and serve as a justification of his aesthetic philosophy. But when the project grew to 'impossible' lengths, his publisher (Little, Brown) insisted on many cuts and changes to keep it to its deadline and to a manageable length. The result was a version published in English in 1924, which Stanislavski hated and completely revised for a Soviet edition that came out in 1926.Now, for the first time, translator Jean Benedetti brings us Stanislavski's complete unabridged autobiography as the author himself wanted it – from the re-edited 1926 version. The text, in clear and lively English, is supplemented by a wealth of photos and illustrations, many previously unpublished.