Stanislavsky, Konstantin 1863-1938

An actor prepares by Konstantin Stanislavsky ( Book )
106 editions published between 1936 and 2013 in 3 languages and held by 2,719 WorldCat member libraries worldwide
This work is the first volume of Stanislavski's trilogy on the art of acting; it explains the art of acting in semi-fiction form. Fusing psychological realism and expressionism, his exploratory exercises teach actors to evoke past emotions that draw out their vulnerability. Stanislavski here introduces such concepts as the "magic if," "emotion memory," the "unbroken line" and many more now famous rehearsal aids. This classic manual is written from the viewpoint of fictional actors taking lessons from a director (based on Stanislavski). Through the student's mistakes, questions, revelations, and struggles, Stanislavski teaches the actor about the stage, truth, and life itself

Building a character by Konstantin Stanislavsky ( Book )
80 editions published between 1949 and 2013 in English and Undetermined and held by 2,592 WorldCat member libraries worldwide
Stanislavski's "System" offers both a means of mastering the craft of acting and of stimulating the actor's individual creativeness and imagination. Generations of actors have been inspired by his ideas -- the "magic if," "emotional memory," the "unbroken line" -- and by that hallmark of Stanislavski's work, an unwavering commitment to theatrical truth

Creating a role by Konstantin Stanislavsky ( Book )
54 editions published between 1961 and 2013 in English and Undetermined and held by 2,274 WorldCat member libraries worldwide
Stanislavski's 'system' or interpretations of it - has become the central force determining almost every performance we see on stage or screen. His classic texts 'An Actor Prepares', 'Building a Character and Creating a Role' have stood the test of time as inspirational guides for actors all over the world

Stanislavsky on the art of the stage by Konstantin Stanislavsky ( Book )
34 editions published between 1950 and 2010 in English and held by 1,659 WorldCat member libraries worldwide
From the Introduction: The theory of acting, as evolved by Stanislavsky in his famous 'system', is not based on reasoning, as many of his critics assert, so much as on experience. It is the result of a lifetime devoted to the art of the stage, of years of experiment as actor and producer, and of a feeling of dissatisfaction with what passes for 'success' both among actors and audiences. While certain general principles of acting had been laid down by a number of famous actors and playwrights, these, Stanislavsky found, had never been reduced to a system with the result that teachers of acting have nothing on which to base their teaching, since 'inspiration' on which the theoreticians of the stage put so much stress, cannot be taught, nor can it be expected to materialize itself just when the actor needs it. Neither can producers be relied on to assist the actor in capturing this elusive 'inspiration'. 'Producers,' Stanislavsky writes, 'explain very cleverly what sort of result they want to get; they are only interested in the final result. They criticize and tell the actor what he should not do, but they do not tell him how to achieve the required result. The producer,' Stanislavsky adds, 'can do a great deal, but he cannot do everything by any means. For the main thing is in the hands of the actor, who must be helped and instructed first of all'

An actor's handbook : an alphabetical arrangement of concise statements on aspects of acting by Konstantin Stanislavsky ( Book )
24 editions published between 1963 and 2004 in English and held by 1,233 WorldCat member libraries worldwide

An actor's work : a student's diary by Konstantin Stanislavsky ( Book )
17 editions published between 2007 and 2010 in English and held by 1,210 WorldCat member libraries worldwide
"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 revolutionised standards of acting in the theatre." "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."--BOOK JACKET

Stanislavski's legacy : a collection of comments on a variety of aspects of an actor's art and life by Konstantin Stanislavsky ( Book )
24 editions published between 1958 and 2012 in English and held by 1,196 WorldCat member libraries worldwide
Synopsis: Out of the large body of materials articles, speeches, notes and memoirs left behind by Stanislavski at the time of his death in 1938, Elizabeth Hapgood, his friend and translator, chose items which concentrate on the essence of his work. The result is a volume which supplements the other books he wrote, and re-emphasizes, sometimes in condensed and particularly vivid form, his views about acting, the theatre and life

My life in art by Konstantin Stanislavsky ( Book )
58 editions published between 1924 and 2013 in English and Undetermined and held by 1,101 WorldCat member libraries worldwide
First published in 1987. Routledge is an imprint of Taylor & Francis, an informa company

Stanislavski on opera by P. I Rumi︠a︡nt︠s︡ev ( Book )
13 editions published between 1975 and 2013 in English and held by 837 WorldCat member libraries worldwide
First published in 1998. Routledge is an imprint of Taylor & Francis, an informa company

An actor prepares by Konstantin Stanislavsky ( Book )
5 editions published between 1936 and 1980 in English and held by 672 WorldCat member libraries worldwide
This work is the first volume of Stanislavski's trilogy on the art of acting; it explains the art of acting in semi-fiction form. Fusing psychological realism and expressionism, his exploratory exercises teach actors to evoke past emotions that draw out their vulnerability. Stanislavski here introduces such concepts as the "magic if," "emotion memory," the "unbroken line" and many more now famous rehearsal aids. This classic manual is written from the viewpoint of fictional actors taking lessons from a director (based on Stanislavski). Through the student's mistakes, questions, revelations, and struggles, Stanislavski teaches the actor about the stage, truth, and life itself