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Download An actor's work on a role by Konstantin Stanislavski, Jean Benedetti PDF

By Konstantin Stanislavski, Jean Benedetti

 An Actor’s paintings on a Role is Konstantin Stanislavsky’s vintage exploration of the practice session procedure, using the recommendations of his seminal actor education approach to the duty of bringing lifestyles and fact to one’s position.

Originally released over part a century in the past as Creating a Role, this publication 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 useful imaginative and prescient of actor training.

This new translation from popular author and critic Jean Benedetti not just contains Stanislavski’s unique teachings, yet can be supplied with helpful supplementary fabric within the form of transcripts and notes from the rehearsals themselves, reconfirming The method because the cornerstone of actor education.

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Extra resources for An actor's work on a role

Sample text

Take mine office . . sith love breeds such offence Title: what have I done? Task: to hide so as not to see myself or others. Explanation: Othello is so sick at heart, he feels so ashamed that he has to be completely alone. Such is why he runs into the background and lies down. Iago follows his countertask. A skilful actor, still panting from the struggle that has just taken place, genuinely frightened by the death threat he has just escaped from, he uses his state for a fresh provocation. He wants to give Othello a lesson he will never forget, frightening him by telling him he is leaving.

He is almost in anguish and to increase that, I have nothing against a technical pause14 after his speech. Note: if the whole of the preceding line had been performed correctly and the actor has understood the nature of despair and knows what a desperate man does, if he has performed (even with little feeling) these truthful actions, with no clichés then he can use the technical pause to othello 1930–1932 lure the audience and intensify the impression without tiring himself (very important). The technical pause is useful because it provides a transition to what follows.

Only Cassio can undertake such errands. Small wonder then, that Othello has made him his lieutenant, or, so to speak, his aide-de-camp. Moreover, the Moor never once thought of othello 1930–1932 Iago as a possible candidate. Why should he need such a post? He is already an intimate, one of the family, a friend. Let him stay that way. Why put an uneducated, uncouth man in a ridiculous situation which would make him a figure of fun? This is what Othello thought. But Iago thought otherwise. After all his service, his courage and bravery, saving the general’s life more than once, his friendship, his devotion, only he, and no one else, could be the general’s aide-de-camp.

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