TY  - BOOK
AU  - Benedetti, Jean
TI  - Stanislavski and The Actor: The Final Acting Lessons
SN  - 9789354351570
U1  - 792.028 
PY  - 2021///
CY  - New Delhi
PB  - Bloomsbury Publishing India Pvt. Ltd.
KW  - Stanislavski; Actor
KW  - Benedetti
N1  - CONTENTS

Acknowledgements                                        vi

Introduction                                                    vii

How to Use this Book                                     xvi

Stanislavski: A Biographical Note                  xviii


Part One

An Outline of the Method of Physical Action      1


Part Two

The Stanislavski 'system'                                  13
Physical Action                                                  16
Mental Action                                                     32
Mind and Body                                                   69
Interaction                                                         74
Tempo-rhythm                                                   80
Verbal Action                                                     87
Physical Characterization                                 95
Total Action                                                       98
Performance Mode                                           102

Part Three

The Method of Physical Action in Rehearsal     103

Part Four

Stanislavski's Master Classes on Hamlet        131

Conclusion                                                        149
N2  - INTRODUCTION

Konstantin Stanislavski is the most significant and most frequently quoted figure in the history of actor training. He is also the most consistently and widely misunderstood. By 1980, after spending ten years devising and teaching acting courses based on the Stanislavski 'system' at Rose Bruford College in England, and seeing work elsewhere, both in the UK and abroad, I had become aware of the confusion that existed as to what precisely the 'system' was. It was often identified either with a primitive kind of 'naturalism' or with Lee Strasberg's Method.

It was then that I started to write Stanislavski: An Introduction (Methuen, 1982), in an attempt to provide students with an account of the origins of the 'system' and a guide to reading Stanislavski's published works. I had to rely at that time on existing English-language translations of these books, unsatisfactory and misleading though they sometimes were because of heavy cuts. An Actor Prepares, for example, is only about half the length of Stanislavski's original. But these were the only texts available for students to buy and there seemed no prospect, for copyright reasons, of producing much-needed new translations. I followed the Introduction with Stanislavski: A Biography (Methuen, 1990) in which I tried to chart the long and often painful path Stanislavski followed in order to understand the nature of the art to which he had devoted his life
ER  -