Category Archives: Constant Stanislavski

CONSTANT STANISLAVSKI (96) ·

It is easy to dream and create theories in art, but it is hard to practice them. It would seem that there is nothing simpler than naked passion and nothing else. But the simpler the thing is, the harder it is to do. The simple must have a great deal of content. Bare of content it is as useless as a nutshell without meat. The simple, in order to become the most important and move itself forward, must contain in itself the entire gamut of complex life phenomena. (MLIA)

CONSTANT STANISLAVSKI (95) ·

I understood that on the stage truth is that in which the actor sincerely believes. I understood that even a palpable lie must become a truth in the theatre so that it may become art. For this it is necessary for the actor to develop to the highest degree his imagination, a childlike naivete and trustfulness, an artistic sensitivity to truth and to the truthful in his soul and body. All these qualities help him to transform a coarse scenic lie into the most delicate truth of his relation to the life imagined. All these qualities, taken together, I shall call the feeling of truth. (MLIA)

CONSTANT STANISLAVSKI (93) ·

I came to understand that creativeness begins from that moment when in the soul and the imagination of the actor there appears the magical, creative if. . . that is, the imagined truth, which the actor can believe as sincerely and with greater enthusiasms than he believes practical truth, just as the child believes in the existence of its doll and of all life in it and around it. (MLIA)

 

13 ESSENTIAL BOOKS FOR THEATRE STUDENTS ·

(Dan Meyer’s article Appeared on Playbill, 9/3.)

Check out these reads before heading to class this semester.

Now that the school year is here, it’s time for students to put down their summer beach reads and get back into their academic reading lists. To help narrow down the many choices for incoming theatre majors, Playbill has selected thirteen books essential for any budding artist.

Head to the (virtual) book store or library with these titles below, arranged in alphabetical order.

An Actor Prepares
By Constantin Stanislavsky
Originally written in the 1930s, this is the one of the first modern day books on performance, and it remains crucial for students to this day. Using a system the performer-director developed on his own, Stanislavsky provides a primer on training, preparation, and technique. Republished in 2011 by Read Books.

The Art and Craft of Playwriting
By Jeffrey Hatcher
Featuring interviews with American playwrights Lee Blessing, Marsha Norman, and José Rivera, Hatcher examines what it takes to make a well-written story in the theatre today from character development and setting up a scene to building suspense and getting a character across the stage. Republished in 2000 from Writer’s Digest Books.

The Director’s Craft: A Handbook for the Theatre
By Katie Mitchell
A step-by-step guide on directing perfect for beginners or those looking for a refresher, Mitchell explains how to helm stage works with a steady hand. In addition, the book looks at challenges directors often face and provides some solutions. Published in 2008 by Routledge.

A Director Prepares: Seven Essays on Art and Theatre
By Anne Bogart
In this look at theatre directing, Bogart presents seven aspects of storytelling that can be considered both a partner and an obstacle to success: violence, memory, terror, eroticism, stereotype, embarrassment, and resistance. Published in 2001 by Routledge.

(Read more)

 

CONSTANT STANISLAVSKI (90) ·

The actor must first of all believe in everything that takes place on the stage, and most of all he must believe in what he himself is doing. And one can believe only in the truth. Therefore it is necessary to feel this truth at all times, to know how to find it, and for this it is unescapable to develop one’s artistic sensitivity to truth. (MLIA)

CONSTANT STANISLAVSKI (88) ·

The more the actor wishes to amuse his audience, the more the audience will sit in comfort waiting to be amused, . . . not even trying to play its part in the play on the stage before it.  But as soon as the actor stops being concerned with the audience, the latter begins to watch the actor.  It is especially so when the actor is occupied in something serious and interesting. (MLIA)