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The legendary Moscow Art Theatre was the source of many theatrical
innovations--long rehearsal periods and research, specifically
designed sets and costumes, the imaginative use of light and
sound--that have since become standard practice. In the West it was
viewed as an ideal ensemble theatre, with all of its members
selflessly dedicated to their art. In fact, what kept the Art
Theatre moving forward was the combustible mixture of its
individual talents: the vitality of conflict fueled its progress.
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.
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.
How did acting begin? What is its history, and what have the great
thinkers on acting said about the art and craft of performance? In
this single-volume survey of the history of acting, Jean Benedetti
traces the evolution of the theories of the actor's craft drawing
extensively on extracts from key texts, many of which are
unavailable for the student today. Beginning with the classical
conceptions of acting as rhetoric and oratory, as exemplified in
the writing of Aristotle, Cicero and others, The Art of the Actor
progresses to examine ideas of acting in Shakespeare's time right
through to the present day. Along the way, Benedetti considers the
contribution and theories of key figures such as Diderot,
Stanislavski, Meyerhold, Brecht, Artaud and Grotowski, providing a
clear and concise explanation of their work illustrated by extracts
and summaries of their writings. Some source materials appear in
the volume for the first time in English.
An Actora (TM)s Work on a Role is Konstantin Stanislavskya (TM)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 onea (TM)s role. Originally published over half a century ago as Creating a Role, this book became the third in a trilogy a " after An Actor Prepares and Building a Character, which are now combined in a newly translated volume called An Actora (TM)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 Stanislavskia (TM)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.
"'A small jewel of a book, a knowleageable introduction to
both The Stanislavski 'system' is still the only comprehensive method
of In this edition, Jean Benedetti makes several important updates
in
Stanislavski and the Actor offers a clear, modern presentation of Konstantin Stanislavski's methods of actor training and rehearsal. It is based on the course Stanislavski designed and taught with a team of hand-picked assistants in the last three years of his life (1935-38) at the Opera-Dramatic Studio in Moscow. Jean Benedetti now reconstructs that course. Stanislavski and the Actor is the manual which Stanislavski never had time to write. Using notes made by Stanislavski's assistants, exercises and improvisations used in class, transcripts of Stanislavski's own master classes (translated into English for the first time) and his knowledge of Stanislavski's earlier writings, Benedetti builds up a comprehensive description of the 'system' in contemporary language that is easy to understand by today's actors and teachers. He also shows that Stanislavski's revolutionary teachings about acting still have a wide application now.
Published by Methuen Drama, the collected dramatic works of Bertolt Brecht are presented in the most comprehensive and authoritative editions of Brecht's plays in the English language. Volume One of Brecht's Collected Plays contains Brecht's first performed stage works. Baal is inspired by Brecht's student life in Augsburg and follows the life of a young poet on the rocky road to inspiration; Drums in the Night was written in response to Brecht's experience as a medical orderly in the aftermath of the First World War; and In the Jungle of Cities, set in Chicago, covers the downfall of a family that has moved from the prairies to the jungle of the big city - award-winning in its day, it was described by a leading German daily as the play that 'has given our time a new tone, a new melody, a new vision'. This volume also includes The Life of Edward II of England, a ballad-like adaptation of Marlowe's original, and five one-act plays The Beggar or the Dead Dog, Driving Out The Devil, Lux in Tenebris, The Catch and A Respectable Wedding in which the bourgeois proceedings take a hilarious turn for the unseemly. The translators are Jean Benedetti, Eva Geiser and Ernest Borneman, Richard Grunberger, Michael Hamburger, Gerhard Nellhaus, Peter Tegel and John Willett. The translations are ideal for both study and performance. The volume is accompanied by a full introduction and notes by the series editor John Willett and includes Brecht's own notes and relevant texts as well as all the important textual variants.
In "Stanislavski and the Actor," Stanislavski scholar and
biographer Jean Bendetti has recovered materials that can stand as
a final, "last work" by the great director and teacher. In this
volume readers will find the first English text of Stanislavski s
notes and practical exercises from these last sessions.
A rare insider's account of the true story behind the development of the famous Stanislavski method. Vasili Toporkov was one of the rare outsiders ever to be invited to join the Moscow Art Theatre. Although already an experienced and accomplished artist, he was forced to retrain as an actor under Stanislavski's rigorous guidance." Stanislavski in Rehearsal" is Toporkov's vivid account of this learning process, offering an eloquent and jargon-free insight into Stanislavski's legendary 'system' and his method of rehearsal that became known as the Method of Physical Action. Spanning ten years - from 1928 to 1938 - Toporkov charts the last crucial years of Stanislavski's work as a director and offers the only reliable biographical sketch that we have. Through Toporkov's account, Stanislavski is revealed as a multi-faceted personality - funny, furious, kind, ruthless, encouraging, exacting - waging a war against cliches and quick answers, inspiring his actors and driving them to despair in his pursuit of artistic perfection.
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