Constantin Stanislavski's 'An Actor's Work' contains both his works 'An
Actor Prepares' and 'Building a Character', in a new translation by Jean
Benedetti. The book is split into two parts, 'Year 1: Experiencing', and
'Year 2: Embodiment'. Stanislavski was of the opinion that to portray
'absolute truth' on stage, an actor must achieve 'psychological realism.'
During classes in which we have studied Stanislavski, this has been
pressed upon us; however, we are told in Jean Benedetti's introduction to
the book the reasons for him putting the two parts together again.
Throughout history the two parts have become separated, and the
'psycho-physical technique' lost. Benedetti says, "Stanislavski had
serious misgivings about dividing the book. He feared that the first
volume, dealing with the psychological aspects of acting, would be
identified as the total 'system' itself, which would be identified as a
form of 'ultranaturalism'. His fears were justified." (pg. xvi) Benedetti
goes on to explain, "directors have seen the 'system' as purely
'psychological.'" (pg. xvi.) By bringing the two together, Benedetti has
tried to bring about a change in the way we view Stanislavski, in a way
other than completely concerned with psychology.
Stanislavski's technique of writing throughout the book does at times
cause confusion; it is written in the form of the diary of a first year
acting student, substituting people's names for those which Stanislavski
believed "reflected the essential nature of their personalities." (pg.
xxi). Stanislavski labels himself Tortsov, meaning 'creator' and the
student essentially writing the diary is intended to portray the young
Stanislavski, as he would be if learning his own system.
The book begins with the 'Original Draft Preface' by Stanislavski,
included by Benedetti but left out by other translators. The point he
impresses upon us from the start is that his system has "no pretensions to
be scientific." He talks about his views on other acting training
programmes, believing that the intuitivism of actors is being rapidly
replaced by an almost scientific equation; we know from the beginning of
the book that it will be concerned mostly with employing the use of the
actor's subconscious feelings, and using instincts. However, he does
counter this argument with the point that although this use of instinct is
true to a certain degree, the actor must have almost a 'bank' of personal
experience and knowledge on which to draw from when acting; it becomes
difficult when there is nothing to relate to. This is what 'Part 1' is
concerned with.
We see the young students surprised at the lack of technical equipment;
the naïve diary entry discusses how it was difficult to become their
character and act properly when they were surrounded by a bare stage. This
is when they are first taught that the literal surroundings must be
forgotten, and the setting of their scene must be completely rooted within
their mind, the environment is of the utmost importance. It is pressed
upon them that these feelings that must be felt are not dependable upon a
camouflage of lights and make-up, although these do ultimately assist one
in gaining absolute realism. Stanislavski talks about 'Action, 'IF',
'Given Circumstances''. He says that action is arbitrary and looks forced
and wooden if there is no intention; these are the given circumstances –
why a character is doing something, what is their intention or their
motivation.
In a later chapter the students are taught about 'Units and Objectives';
in Benedetti's translation, he uses Stanislavski's original 'home-grown'
terms, 'Bits and Tasks'. Our student splits his walk home from the theatre
into units and objectives but finds himself hundreds. Stanislavski here
teaches us to be far less specific with our tasks and, in a positive
sense, make them more vague.
'Part 2', 'Building a Character' deals with what happens after
'Experiencing'. The students must apply what they have learnt about the
psychological side to their approach to embodying a character. This
section of the book deals with the physical side of the acting; the
expressions, speech and movement of a character. This is briefly touched
on when we see Kostya (young Stanislavski) attempting to recreate the
character of Othello by changing his facial expression in front of a
mirror. This is referred to again at the end of the book when the students
look back at how much they have learnt, intended to be echoed within the
reader.
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