Table Of Content

Cover Page Page: i Half Title Page Page: i Other Title Page: ii Title Page Page: iii Copyright Page Page: iv Foreword by Robert Lewis Page: v Translator's Note Page: ix Table of Contents Page: xiii Part I Griboyedov's Woe from Wit Page: xiv I. The Period of Study Page: 1 First Acquaintance with a Part Page: 3 Analysis Page: 7 Studying the External Circumstances Page: 12 Putting Life into External Circumstances Page: 18 Creating Inner Circumstances Page: 25 Appraising the Facts Page: 34 II. The Period of Emotional Experience Page: 43 Inner Impulses and Inner Action Page: 44 Creative Objectives Page: 50 The Score of a Role Page: 56 The Inner Tone Page: 62 The Superobjective and Through Action Page: 77 The Superconscious Page: 81 III. The Period of Physical Embodiment Page: 84 Part II Shakespeare's Othello Page: 106 IV. First Acquaintance Page: 107 V. Creating the Physical Life of a Role Page: 130 VI. Analysis Page: 150 VII. Checking Work Done and Summing Up Page: 193 Part III Gogol's The Inspector General Page: 210 VIII. From Physical Actions to Living Image Page: 211 Appendices Page: 251 a. Supplement to Creating a Role Page: 251 b. Improvisations on Othello Page: 255

Description:
Creating a Roleis the culmination of Stanislavski's masterful trilogy on the art of acting. An Actor Prepares focused on the inner training of an actor's imagination. Building a Characterdetailed how the actor's body and voice could be tuned for the great roles he might fill. This third volume examines the development of a character from the viewpoint of three widely contrasting plays: Griboyedov's Woe from Wit, Shakespeare's Othello, and Gogol's The Inspector General. Building on the first two books, Stanislavski demonstrates how a fully realized character is born in three stages: "studying it; establishing the life of the role; putting it into physical form." Tracing the actor's process from the first reading to production, he explores how to approach roles from inside and outside simultaneously. He shows how to recount the story in actor's terms, how to create an inner life that will give substance to the author's words, and how to search into one's own experiences to connect with the character's situation. Finally, he speaks of the physical expression of the character in gestures, sounds, intonation, and speech. Throughout, a picture of a real artist at work emerges, sometimes failing, but always seeking truthful answers.
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Creating A Role PDF

286 Pages·1987·0.54 MB·English
by  Constantin Stanislavski
#Theater #Performing Arts #Acting & Auditioning #General
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Preview Creating A Role

Cover Page Page: i Half Title Page Page: i Other Title Page: ii Title Page Page: iii Copyright Page Page: iv Foreword by Robert Lewis Page: v Translator's Note Page: ix Table of Contents Page: xiii Part I Griboyedov's Woe from Wit Page: xiv I. The Period of Study Page: 1 First Acquaintance with a Part Page: 3 Analysis Page: 7 Studying the External Circumstances Page: 12 Putting Life into External Circumstances Page: 18 Creating Inner Circumstances Page: 25 Appraising the Facts Page: 34 II. The Period of Emotional Experience Page: 43 Inner Impulses and Inner Action Page: 44 Creative Objectives Page: 50 The Score of a Role Page: 56 The Inner Tone Page: 62 The Superobjective and Through Action Page: 77 The Superconscious Page: 81 III. The Period of Physical Embodiment Page: 84 Part II Shakespeare's Othello Page: 106 IV. First Acquaintance Page: 107 V. Creating the Physical Life of a Role Page: 130 VI. Analysis Page: 150 VII. Checking Work Done and Summing Up Page: 193 Part III Gogol's The Inspector General Page: 210 VIII. From Physical Actions to Living Image Page: 211 Appendices Page: 251 a. Supplement to Creating a Role Page: 251 b. Improvisations on Othello Page: 255

Description:
Creating a Roleis the culmination of Stanislavski's masterful trilogy on the art of acting. An Actor Prepares focused on the inner training of an actor's imagination. Building a Characterdetailed how the actor's body and voice could be tuned for the great roles he might fill. This third volume examines the development of a character from the viewpoint of three widely contrasting plays: Griboyedov's Woe from Wit, Shakespeare's Othello, and Gogol's The Inspector General. Building on the first two books, Stanislavski demonstrates how a fully realized character is born in three stages: "studying it; establishing the life of the role; putting it into physical form." Tracing the actor's process from the first reading to production, he explores how to approach roles from inside and outside simultaneously. He shows how to recount the story in actor's terms, how to create an inner life that will give substance to the author's words, and how to search into one's own experiences to connect with the character's situation. Finally, he speaks of the physical expression of the character in gestures, sounds, intonation, and speech. Throughout, a picture of a real artist at work emerges, sometimes failing, but always seeking truthful answers.
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