By Konstantin Stanislavski, Jean Benedetti
An Actor’s paintings on a Role is Konstantin Stanislavsky’s vintage exploration of the practice session strategy, making use of the recommendations of his seminal actor education process to the duty of bringing existence and fact to one’s position.
Originally released over part a century in the past as Creating a Role, this publication grew to become 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 comprises Stanislavski’s unique teachings, yet can be provided with useful 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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Additional resources for An actor's work on a role
All he can do is squander his father’s wealth, thanks to which both he and his father had been admitted to aristocratic circles. Rodrigo who is naïve and fond of the good life provided money (never returned, of course) to young Venetians who shared his tastes. Where did he get it? For a period the business which was solid, continued to work thanks to faithful old managers who kept it going. But, of course that could not continue. As ill-luck would have it, one morning, going down the canal after a night of drinking, Rodrigo saw, like a dream or a vision, the young and beautiful Desdemona, getting into a gondola to go to church accompanied by her servant, or some other elderly woman, a nurse from Brabantio’s household.
At that time the romance between Othello and Desdemona was developing strongly. Cassio, as their intermediary, knew of Rodrigo’s love. He came to know him only at the time of the nightly orgies. Cassio knew how naïve Rodrigo was. Knowing of the relationship between Othello and Desdemona, he found Rodrigo’s hopes of being reciprocated ludicrous. And so he played all kinds of jokes on his naiveté, teasing him. He persuaded him that Desdemona would be walking somewhere or that she had arranged a rendezvous somewhere else and Rodrigo would spend hours in the hope of seeing his beauty.
If luck is not with them, they spend hours staring at an open script, trying all ways to get into the part, not only mentally but physically. Tense, exhausted by their eﬀorts, they try to concentrate by mumbling the words of the text, which are quite foreign to them. Their gestures and facial expressions, which are not motivated from within, are not real; they are horrible grimaces. When no other help is forthcoming they get into costume and make-up so as to approach the part from the outside.
An actor's work on a role by Konstantin Stanislavski, Jean Benedetti