Creating A Role Constantine Stanislavski Pdf 121
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Creating A Role: A Guide to Stanislavski's Method for Actors
Creating A Role is the third and final book by the legendary Russian actor and director Constantin Stanislavski on his method for learning the art of acting. It was first published in Russian in 1957 and translated into English by Elizabeth Reynolds Hapgood in 1961. The book is based on Stanislavski's lectures and notes from his rehearsals with actors at the Moscow Art Theatre.
In this book, Stanislavski explains how an actor can use his imagination, observation, analysis, and emotion to create a realistic and convincing character on stage. He also discusses how an actor can apply his method to different types of roles, such as comedy, tragedy, melodrama, and historical drama. He illustrates his ideas with examples from his own work and from the plays of Anton Chekhov, Henrik Ibsen, Leo Tolstoy, and others.
Creating A Role is an essential reading for anyone who wants to learn more about Stanislavski's method and its influence on modern theatre and film. It is a valuable resource for actors, directors, teachers, and students of drama. It is also a fascinating insight into the creative process of one of the most influential figures in theatre history.
You can download a pdf version of Creating A Role from the Internet Archive[^1^] [^2^] [^3^]. The pdf file has 121 pages and contains the full text of the book.
Stanislavski's method consists of several techniques that help actors to create realistic and expressive performances. Some of these techniques are:
The magic if: This technique involves asking the question \"What if I were in this situation\" to imagine how the character would feel and act in a given circumstance.
The given circumstances: These are the facts and details of the character's life, such as their background, personality, relationships, objectives, obstacles, and environment.
The super-objective: This is the overarching goal or purpose that drives the character's actions throughout the play.
The subtext: This is the hidden meaning or intention behind the character's words and actions.
Emotional memory: This technique involves recalling a personal experience that evokes a similar emotion to the one required by the character.
Physical actions: These are the specific movements and gestures that express the character's inner state and advance the plot.
Tempo-rhythm: This is the pace and pattern of the character's speech and movement.
Relaxation: This technique involves releasing physical and mental tension to achieve a state of concentration and readiness.
Stanislavski's method has influenced many other acting methods and teachers, such as Lee Strasberg, Stella Adler, Sanford Meisner, Uta Hagen, Michael Chekhov, and Viola Spolin. His system is widely taught in drama schools and used by actors around the world.
Stanislavski's method has been applied by many actors and directors to various genres and styles of theatre and film. Some examples of Stanislavski's method in action are:
Marlon Brando in A Streetcar Named Desire (1951): Brando used emotional memory and physical actions to portray the complex and violent character of Stanley Kowalski. He also improvised some of his lines and gestures to create a more realistic and spontaneous performance.
Meryl Streep in Sophie's Choice (1982): Streep used the magic if and the given circumstances to immerse herself in the role of Sophie, a Polish woman who survived the Holocaust. She also learned Polish and German languages and accents to enhance her authenticity.
Daniel Day-Lewis in My Left Foot (1989): Day-Lewis used the method of physical action and tempo-rhythm to transform himself into Christy Brown, an Irish writer and painter who had cerebral palsy. He stayed in character even when the cameras were not rolling and insisted on being treated as if he had a disability.
Heath Ledger in The Dark Knight (2008): Ledger used the subtext and the super-objective to create a memorable and menacing portrayal of the Joker, a psychopathic criminal mastermind. He also developed his own voice, makeup, and mannerisms for the character.
Stanislavski's method is not a rigid set of rules, but a flexible and adaptable tool for actors to explore their creativity and express their emotions. It can help actors to find their own voice and style, as well as to connect with their audience and collaborators. aa16f39245