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Stanislavski and the Actor: The Method of Physical Action and over one million other books are available for Amazon Kindle. Learn more

Stanislavski and the Actor: The Method of Physical Action

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ISBN-13: 978-0878300907
ISBN-10: 0878300902
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Stanislavski and the Actor: The Method of Physical Action + An Actor Prepares + Building A Character
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Editorial Reviews

Review

A hands-on approach. Stanislavski and the Actor incorporates exercises, improvisations and other notes handed down by Irina Novitskaya, one of the maestros assistantss from the short-lived Opera-Dramatic Studio in the 1930s. Benedetti, author of Stanislavski: A Biography, modernizes the vocabulary and references, and fleshes the material out with his own summary of the great mans system..
American Theatre

Overall the book is fascinating....
Theatre Journal

Students beginning the study of acting often need a primer about Konstantin Stanislavski--who he was and an overview of theories he crafted for the training of actors....For novice actors, and the teachers who are about to introduce them to Stanslavski, this title is perfect....Every undergraduate library supporting theatre studies should own this first-level introduction to Stanislavski. It is also a terrific book to give to freshman-level acting students as they walk in the door.
Choice, 5/99

Every undergraduate library supporting theater studies should own this first-level introduction to Stanislavski. It is also a terrific book to give to freshmen-level acting students as they walk in the door.
Choice

About the Author

Jean Benedetti is formerly the Principal of the Rose Bruford College, UK. He is a biographer of Stanislavski.

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Product Details

  • Paperback: 176 pages
  • Publisher: Routledge (September 18, 1998)
  • Language: English
  • ISBN-10: 0878300902
  • ISBN-13: 978-0878300907
  • Product Dimensions: 7.7 x 5 x 0.4 inches
  • Shipping Weight: 3.2 ounces (View shipping rates and policies)
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (3 customer reviews)
  • Amazon Best Sellers Rank: #1,089,385 in Books (See Top 100 in Books)

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11 of 11 people found the following review helpful By Elan Kesilman on December 5, 2000
Format: Paperback
Benedetti first outlines Stanislavski's Method of Physical action, a term which Benedetti does not think accurately denotes the idea it represents. He prefers to refer to it as the Method of Analysis through Physical Action because it recognizes that physical movement is not the sole ingredient for good acting. Nonetheless, how an actor moves partly determines how his audience will react. If the movements are believable and comparable to the viewer's own movement, the viewer will be able to identify with the actor's performance. In other words, although acting is a created behavior, it must appear real. Benedetti coins the terms, the "Real I" and the "Dramatic I" to illustrate the difference and the process of creating a character. He notes the actor must "create a Dramatic `I' that will look and sound as human as a Real `I'" (4). The most important factor in making this transition, according to Benedetti, is belief. The actor must believe his situation is true, and his attitude toward his movements and the treatment of other actors and objects will seem true. There are three phases in achieving this goal: (1) I am being, which involves creating past and future character histories for the play along with dividing the play into its thematic parts and exploring the subtext, (2) The Third Being, where the text's structure is examined in the context of its history and the text merges with the actor's experiences and actions, and (3) The Creative Actor in the Play, which refines the actor's performance and cuts superfluous movement. Benedetti then explains Stanislavski's system, or technique, to create the Dramatic `I.' Stanislavski believed in continual practice of exercises to keep the actor's body and voice finely tuned like a musical instrument.Read more ›
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Format: Paperback Verified Purchase
Really good, very quirky film. Early Scorcisi (spelling?), and unlike his later work, strangely. It follows the logic of a nightmare.
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By Eamon Roche on April 18, 2013
Format: Paperback Verified Purchase
Any actor looking to act better have this in their library. No arguments against it. You just have to know Stanislavski.
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