Stanislavski was the first person to develop a cogent and practical system of acting. Throughout his life he sought the answers to such fundamental questions as: "What is great acting?" and "How can you find inspiration in every performance?" Stanislavski remains the most important influence on actor training today, and yet many of his ideas are little known, or even misunderstood. Stanislavski For Beginners charts the development of the Stanislavski system. It includes a clear exposition of the key elements of the system and explores his Method of Physical Actions, which he worked on in the years before his death, and which he called “the result of my whole life’s work.”

Stanislavski in Practice is an unparalleled step-by-step guide to Stanislavski’s System. Author Nick O’Brien makes this cornerstone of acting accessible to teachers and students alike. This is an exercise book for students and a lesson planner for teachers on syllabi from Edexcel, WJEC and AQA to the practice-based requirements of BTEC. Each element of the System is covered practically through studio exercises and jargon-free discussion. Over a decade’s experience of acting and teaching makes O’Brien perfectly placed to advise anyone wanting to understand or apply Stanislavski’s system. Features include: Practical extension work for students to take away from the lesson Notes for teachers on how to use material with different age groups Exam tips for students based on specific syllabi requirements A chapter dedicated to using Stanislavski when rehearsing a text A glossary of terms that students of the System will encounter

In this follow up to his most famous book, An Actor Prepares, Stanislavski develop his influential 'system' of acting by exploring the imaginative processes at the heart of the actor's craft. Building a Character deals with the physical realisation of character on the stage through such tools as expressions, movement and speech. It is a book in which every theory is inextricably bound up with practice - a perfect handbook to the physical art of acting. The work of Stanislavski has inspired generations of actors and trainers and - available now in the Bloomsbury Revelations series to mark the 150th anniversary of Stanislavski's birth - it remains an essential read for actors and directors at all stages of their careers.

Stanislavski was the first to outline a systematic approach for using our experience, imagination and observation to create truthful acting. 150 years after his birth, his approach is more widely embraced and taught throughout the world – but is still often rejected, misunderstood and misapplied. In Acting Stanislavski, John Gillett offers a clear, accessible and comprehensive account of the Stanislavski approach, from the actor's training to final performance, exploring: ease and focus the nature of action, interaction and objectives the imaginary reality, senses and feeling active analysis of text physical and vocal expression of character the actor in the context of training and the industry. Drawing on Stanislavski's major books, in both English translations, and on records of his directing process and final studio classes, Acting Stanislavski demystifies terms and concepts. It is for actors from an actor's point of view, and offers many practical exercises and examples as an integrated part of each subject. Acting Stanislavski also creates an up-to-date overview of the Stanislavski approach, connecting his legacy with the work of his successors, from Michael Chekhov to Meisner, Adler and Strasberg. A new, extended and fully updated edition of Acting on Impulse: Reclaiming the Stanislavski Approach (Methuen Drama, 2007), Acting Stanislavski now includes new exercises and biographies, a further chapter on The Character, and an expanded glossary along with many other additions to the previous chapters. It is an essential practical and educational resource for any acting student, professional or teacher.

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 revolutionized standards of acting in the theatre. Until now, readers and students have had to contend with inaccurate, misleading and difficult-to-read English-language versions. Some of the mistranslations have resulted in profound distortions in the way his system has been interpreted and taught. At last, 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. The result is a major contribution to the theatre, and a service to one of the great innovators of the twentieth century. This Routledge Classics edition includes a new Foreword by the director Richard Eyre.

An account of her own struggle with the techniques of acting -- based on her teachings.

Transcriptions of actual tuition sessions by the originator of Method Acting, tutor to such talents as Paul Newman, Al Pacino, James Dean, Marilyn Monroe and Dustin Hoffman.

At the time of his death, Stanislavsky considered Nikolai Demidov to be ‘his only student, who understands the System’. Demidov’s incredibly forward-thinking processes not only continued his teacher’s pioneering work, but also solved the problems of an actor’s creativity that Stanislavsky never conquered. This book brings together Demidov’s five volumes on actor training. Supplementary materials, including transcriptions of Demidov’s classes, and notes and correspondence from the author make this the definitive collection on one of Russian theatre’s most important figures.