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An Actor's Work on the Self, Part 2
An Actor's Work on the Self, Part 2
448 pages, Paperback
First published January 1, 1949
About the author
Constantin Stanislavski
89 books301 followersConstantin Sergeyevich Stanislavski (russian:Константин Сергеевич Станиславский) was a Russian actor and theatre director.
Stanislavski's innovative contribution to modern European and American realistic acting has remained at the core of mainstream western performance training for much of the last century. Building on the directorially-unified aesthetic and ensemble playing of the Meiningen company and the naturalistic staging of Antoine and the independent theatre movement, Stanislavski organized his realistic techniques into a coherent and usable 'system'. Thanks to its promotion and development by acting teachers who were former students and the many translations of his theoretical writings, Stanislavski's system acquired an unprecedented ability to cross cultural boundaries and developed an international reach, dominating debates about acting in the West. That many of the precepts of his 'system' seem to be common sense and self-evident testifies to its hegemonic success. Actors frequently employ his basic concepts without knowing they do so.
Stanislavski treated theatre-making as a serious endeavour, requiring dedication, discipline and integrity, and the work of the actor as an artistic undertaking. Throughout his life, he subjected his own acting to a process of rigorous artistic self-analysis and reflection. His 'system' resulted from a persistent struggle to remove the blocks he encountered. His development of a theorized praxis—in which practice is used as a mode of inquiry and theory as a catalyst for creative development—identifies him as the first great theatre practitioner. Stanislavski believed that after seeing young actors at Aquinas College in Moscow he could see why theatre needed to change to a more disciplined endeavour.
Stanislavski's work was as important to the development of socialist realism in the USSR as it was to that of psychological realism in the United States. Many actors routinely identify his 'system' with the American Method, although the latter's exclusively psychological techniques contrast sharply with Stanislavski's multivariant, holistic and psychophysical approach, which explores character and action both from the 'inside out' and the 'outside in'. Stanislavski's work draws on a wide range of influences and ideas, including his study of the modernist and avant-garde developments of his time (naturalism, symbolism and Meyerhold's constructivism), Russian formalism, Yoga, Pavlovian behaviourist psychology, James-Lange (via Ribot) psychophysiology and the aesthetics of Pushkin, Gogol, and Tolstoy. He described his approach as 'spiritual Realism'.
Associated Names:
Konstantin Stanislavski (Alternative spelling)
Константин Станиславский (Russian)
斯坦尼斯拉夫斯基 (Chinese)
Stanislavski's innovative contribution to modern European and American realistic acting has remained at the core of mainstream western performance training for much of the last century. Building on the directorially-unified aesthetic and ensemble playing of the Meiningen company and the naturalistic staging of Antoine and the independent theatre movement, Stanislavski organized his realistic techniques into a coherent and usable 'system'. Thanks to its promotion and development by acting teachers who were former students and the many translations of his theoretical writings, Stanislavski's system acquired an unprecedented ability to cross cultural boundaries and developed an international reach, dominating debates about acting in the West. That many of the precepts of his 'system' seem to be common sense and self-evident testifies to its hegemonic success. Actors frequently employ his basic concepts without knowing they do so.
Stanislavski treated theatre-making as a serious endeavour, requiring dedication, discipline and integrity, and the work of the actor as an artistic undertaking. Throughout his life, he subjected his own acting to a process of rigorous artistic self-analysis and reflection. His 'system' resulted from a persistent struggle to remove the blocks he encountered. His development of a theorized praxis—in which practice is used as a mode of inquiry and theory as a catalyst for creative development—identifies him as the first great theatre practitioner. Stanislavski believed that after seeing young actors at Aquinas College in Moscow he could see why theatre needed to change to a more disciplined endeavour.
Stanislavski's work was as important to the development of socialist realism in the USSR as it was to that of psychological realism in the United States. Many actors routinely identify his 'system' with the American Method, although the latter's exclusively psychological techniques contrast sharply with Stanislavski's multivariant, holistic and psychophysical approach, which explores character and action both from the 'inside out' and the 'outside in'. Stanislavski's work draws on a wide range of influences and ideas, including his study of the modernist and avant-garde developments of his time (naturalism, symbolism and Meyerhold's constructivism), Russian formalism, Yoga, Pavlovian behaviourist psychology, James-Lange (via Ribot) psychophysiology and the aesthetics of Pushkin, Gogol, and Tolstoy. He described his approach as 'spiritual Realism'.
Associated Names:
Konstantin Stanislavski (Alternative spelling)
Константин Станиславский (Russian)
斯坦尼斯拉夫斯基 (Chinese)
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Displaying 1 - 30 of 52 reviews
July 24, 2021
Работа актера над собой = Building a Character (The Acting Books #2), Konstantin Stanislavski
Building a Character is the second of stage actor/director Constantin Stanislavski's three books on his method for learning the art of acting. It was first published in Russian in 1948.
Contents:
Toward a Physical Characterization
Dressing a Character
Characters and Types
Making the Body Expressive
Plasticity of Motion
Restraint and Control
Diction and Singing
Intonations and Pauses
Accentuation: The Expressive Word
Perspective in Character Building
Tempo-Rhythm in Movement
Speech Tempo-Rhythm
Stage Charm
Toward an Ethics for the Theatre
Patterns of Accomplishment
Some Conclusions on Acting
تاریخ نخستین خوانش: روز هشتم ماه می سال 1398میلادی
عنوان: شخصیت پردازی (شخصیت سازی) : کار هنرپیشه روی خود در جریان تجسم - مجموعه آثار استانیسلاوسکی (2)؛ نویسنده: کنستانتین استانیسلاوسکی؛ مترجم: مهین اسکویی؛ تهران، سروش، 1376؛ در 651ص؛ شابک: 9644352327؛ چاپ سوم 1387؛ شابک9789643765750؛ موضوع: بازیگری با روش استانیسلاوسکی از نویسندگان روسیه - سده 20م
کتاب دارای کشفیات تازه «استانیسلاوسکی» و آشکارسازی آنچه در درون بازیگر میگذرد، و هدایت و رهبری این احساسات است؛ ایشان باور دارند که دانایی و شعور و توانایی هنرمند بازیگر، در گزینش و ساختن قالب مناسب، یعنی دنیای برونی، مشخص میگردد؛
فصلهای کتاب عبارتند از: «به طرف تجسم»، «رشد گویاییهای جسم»، «صدا و بیان»، «دورنمای هنرپیشه و نقش»، «تمپ و ریتم»، «منطق و تداوم»، «منش (کاراکتر) داشتن»، «خودداری و تمامیت»، «جاذبه»، «جاذبه و کشش صحنهای»، «اخلاق و نظم»، «خوداحساسگری صحنه ای«، و سه ضمیمه: «ضمیمه 1. مطالب متمم»؛ «ضمیمه 2. موادی در مورد تعلیمات سیستم»، و «ضمیمه ی 3. برنامه آموزش و یادداشتی در مورد تربیت هنرپیشه تئاتر»؛
تاریخ بهنگام رسانی 01/05/1400هجری خورشیدی؛ ا. شربیانی
Building a Character is the second of stage actor/director Constantin Stanislavski's three books on his method for learning the art of acting. It was first published in Russian in 1948.
Contents:
Toward a Physical Characterization
Dressing a Character
Characters and Types
Making the Body Expressive
Plasticity of Motion
Restraint and Control
Diction and Singing
Intonations and Pauses
Accentuation: The Expressive Word
Perspective in Character Building
Tempo-Rhythm in Movement
Speech Tempo-Rhythm
Stage Charm
Toward an Ethics for the Theatre
Patterns of Accomplishment
Some Conclusions on Acting
تاریخ نخستین خوانش: روز هشتم ماه می سال 1398میلادی
عنوان: شخصیت پردازی (شخصیت سازی) : کار هنرپیشه روی خود در جریان تجسم - مجموعه آثار استانیسلاوسکی (2)؛ نویسنده: کنستانتین استانیسلاوسکی؛ مترجم: مهین اسکویی؛ تهران، سروش، 1376؛ در 651ص؛ شابک: 9644352327؛ چاپ سوم 1387؛ شابک9789643765750؛ موضوع: بازیگری با روش استانیسلاوسکی از نویسندگان روسیه - سده 20م
کتاب دارای کشفیات تازه «استانیسلاوسکی» و آشکارسازی آنچه در درون بازیگر میگذرد، و هدایت و رهبری این احساسات است؛ ایشان باور دارند که دانایی و شعور و توانایی هنرمند بازیگر، در گزینش و ساختن قالب مناسب، یعنی دنیای برونی، مشخص میگردد؛
فصلهای کتاب عبارتند از: «به طرف تجسم»، «رشد گویاییهای جسم»، «صدا و بیان»، «دورنمای هنرپیشه و نقش»، «تمپ و ریتم»، «منطق و تداوم»، «منش (کاراکتر) داشتن»، «خودداری و تمامیت»، «جاذبه»، «جاذبه و کشش صحنهای»، «اخلاق و نظم»، «خوداحساسگری صحنه ای«، و سه ضمیمه: «ضمیمه 1. مطالب متمم»؛ «ضمیمه 2. موادی در مورد تعلیمات سیستم»، و «ضمیمه ی 3. برنامه آموزش و یادداشتی در مورد تربیت هنرپیشه تئاتر»؛
تاریخ بهنگام رسانی 01/05/1400هجری خورشیدی؛ ا. شربیانی
April 18, 2010
There comes a point about halfway through "Building a Character" when Stanislavski's earnest young protagonist, Kostya, complains to his mentor, Torstov, that this batch of lessons all seem rather technical and not nearly as much fun as all the creativity and inspiration that was the foundation of the last batch of lessons (found in Stanislavski's first volume, "An Actor Prepares"). As a reader, you're bound to feel the same way.
Torstov's response is to tell Kostya (and presumable you, the reader) to stop whining and points out that the theater is not all getting in touch with your inner feelings and being artsy and creative. There's a lot of tedious and difficult work that lies in the preparation of your body and voice. This preparation is the canvas on which you can use your creativity and artsiness to paint successful characterizations. Without the strong foundation all this preparation creates, your acting will be a hollow imitation of real life, the worst sin imaginable by Stanislavksi.
As Kostya shuts his trap and does as he's told, you begin to understand that whether or not you can bear with the instruction offered in the pages of "Building a Character" will indicate clearly how serious you are about acting.
It is no great effort to be creative. It is something that inherently artistic people can do with almost no thought at all. But Stanislavski argues that concocting interesting ideas and clever interpretations can only take a performer so far. It is sharing those ideas with your audience in such a way as to make them believe the reality you are creating that is important, and without a finely tuned instrument (i.e. your body), your efforts will always fail.
To that end, the author spends most of these pages outlining in great detail strategies and exercises to develop the physicality of your body, the versatility of your voice and vocal patters, and your sense of timing and rhythm. And like Kostya, you will likely feel like skipping over some of the tedious instructions Torstov delivers. But if you make yourself read every word on every page, you'll find that every single thing Torstov says is indeed quite useful.
"Building a Character" is not as fun or inspiration a read as "An Actor Prepares", but it is certaingly every bit as useful.
Torstov's response is to tell Kostya (and presumable you, the reader) to stop whining and points out that the theater is not all getting in touch with your inner feelings and being artsy and creative. There's a lot of tedious and difficult work that lies in the preparation of your body and voice. This preparation is the canvas on which you can use your creativity and artsiness to paint successful characterizations. Without the strong foundation all this preparation creates, your acting will be a hollow imitation of real life, the worst sin imaginable by Stanislavksi.
As Kostya shuts his trap and does as he's told, you begin to understand that whether or not you can bear with the instruction offered in the pages of "Building a Character" will indicate clearly how serious you are about acting.
It is no great effort to be creative. It is something that inherently artistic people can do with almost no thought at all. But Stanislavski argues that concocting interesting ideas and clever interpretations can only take a performer so far. It is sharing those ideas with your audience in such a way as to make them believe the reality you are creating that is important, and without a finely tuned instrument (i.e. your body), your efforts will always fail.
To that end, the author spends most of these pages outlining in great detail strategies and exercises to develop the physicality of your body, the versatility of your voice and vocal patters, and your sense of timing and rhythm. And like Kostya, you will likely feel like skipping over some of the tedious instructions Torstov delivers. But if you make yourself read every word on every page, you'll find that every single thing Torstov says is indeed quite useful.
"Building a Character" is not as fun or inspiration a read as "An Actor Prepares", but it is certaingly every bit as useful.
December 2, 2022
really insightful tools and analyzations of theatre. would recommend to people who really enjoy acting and the theatre.
November 20, 2010
I have to say that I really struggled with some parts of this book. Some chapters are really technical and very detailed and that is tiring after awhile. But you have to push through because it is totally worth it. The chapters in the end are very interesting and I couldn't put the book down! I would definitely recommend this book to anyone who is interested in acting. It contains the basics of Stanislavski's method (along with "An actor prepares"). Some concepts of the method are really hard to grasp by reading and only through practice you can really understand them. I will definitely read it again in the future.
Read
March 25, 2016This and An Actor Prepares and Creating a Role are not academic books on theatre history. But they are far too important and influential to ignore. In the Actor Prepares Trilogy, Stanislavski defines acting as a very serious activity requiring immense discipline and integrity. He lays out a system for acting that demands a kind of psychological realism that was rarely seen in pre-19th Century acting styles. It is common for teachers of acting to regard the works of Stanislavski as the beginning of the modern era in terms of how young theatre artists are trained.
September 3, 2017
I took around 6 months to complete this book,read it in bits and pieces,second book of Stanislavsky's "An actor Prepares" trilogy .I found this book very technical, many concepts related to speech,diction,Theater ethics I found very relatable but grasped few concepts like Tempo rhythms with a very poor understanding.Last few chapters in the book were really interesting.I recommend this book to the people who are interested in Pursing theater,It will surely be of great help :)
October 18, 2015
"La construcción del personaje" fue la obra póstuma de su célebre autor. Considerada la segunda parte de "Un actor se prepara", en este libro se analizan las técnicas necesarias para construir un personaje de manera creíble, natural y expresivo como marca el "sistema Stanislavski". Se trata de un manual interesante pero cuyo campo de acción es limitado por el propio formato escrito y por estar orientado a los lectores rusos, esto provoca que se haga pesado de leer en ciertas partes y redundante en otras, alcanzando solo un cierto nivel de interés (más filosófico que práctico) al principio y al final del libro. El propio autor reconoce que sin un "ojo experto" no se puede resolver realmente las objeciones que surjan en el desarrollo interpretativo del actor amateur por lo que este libro tiene que ser intercalado con verdaderas clases de teatro (preferiblemente las que sigan este sistema) para que pueda ser verdaderamente eficiente y práctico. Afortunadamente tengo la suerte de poder asistir a clases de teatro, que aunque no sigan este sistema, te permite contrastar el conocimiento adquirido e incorporar matices de actitud y desarrollo físico y psicológico tanto en las clases como en el día a día. Por ello recomiendo a todo el mundo que lea esto que se apunten a clases de teatro. Es pura vida.
January 21, 2015
El libro es muy pesado y la verdad es que me da la sensación que en las cosas más "sencillas" se explaya en demasía y deja la vitales un poco a la pata coja. Lo mejor del libro son sin duda los últimos capítulos, los más interesantes y ricos. Creo que es una lectura obligada para todo aquel que quiera ser actor y la verdad es que me alegro de haber profundizado en una de las lecturas complementarias de una de las próximas asignaturas que cursaré en la Universidad.
¡Ya puedo decir que he leído (algo de) el sistema Stanislavski! (Algún día podré escribir el apellido de este hombre sin tener que mirar la portada del libro...)
¡Ya puedo decir que he leído (algo de) el sistema Stanislavski! (Algún día podré escribir el apellido de este hombre sin tener que mirar la portada del libro...)
May 26, 2017
Stanislavski's theory of method acting requires actors to dip into their personal emotional wells to achieve verisimilitude in their roles. As such, actors are expected to exercise self-reflection regularly as part of their technique. Stanislavski's techniques for building a character are as useful to the lay person as to the actor--they are practical lessons in self-control. If practiced habitually, such technical awareness will expand one's moral perception as well as one's emotional depth, making one a more sensitively attuned actor in the world.
Read
March 9, 2017I know Stanislavski's approach to acting is highly revered. But for me at least, this book was just confusing. I was expecting a how-to manual, but it was more of a collection of anecdotes that I had no idea how to apply to my own life. (Even the exercises are presented in a way that made them generally feel to me more like stories than instructions.)
March 3, 2021
После этой книги женщины меня полюбили
January 17, 2009
This isn't as interesting as An Actor Prepares, there's a lot weirder stuff here that's harder to relate to. Like rhythm work with a metronome, different beats and how every play has an underlying beat and other beats layered on top of it and you can screw it up by not being on the right beat with your fellow actors. I know this is kinda true, but it's hard to make it compelling to write about. It's kind of something that you just have to experience and play around with in rehearsal I think. All I know is, reading about it is boring. There's a lot of detail in here about movement exercises too, and complicated word exercises that break everything down into vowels and consonants and everything. I know that this stuff is also important for acting, but it's just not as easy to think about and apply to the work. I think a lot of the stuff in this book almost has to be experienced in person. My review could basically be: you had to be there.
May 17, 2019
Unfortunately I was not a fan of the writing style. If you’re looking for a technique book that gives you practical/tangible ways of forming a character, this isn’t really it. This is more of a first-account journal of Stanislavski’s teachings. It’s incredibly dense and I got lost in all the unneeded notes on conversation. At moments his teachings come across stuffy and pretentious; and to me, that’s the exact opposite of acting. I would not recommend this book for an actor unless they want to be able to check off the “I’ve read Stanislavsky” box.
March 28, 2012
Stanislavski may have written this for actors, but as a writer, i found it unique and very helpful in writing a screenplay. It was a whole new picture of purpose and method. It was given me by mentor and friend, John Brascia, a screenwriter, producer, who was also the primary dancer in "White Christmas." He said the book will add to your depth and push you to work harder as a writer to present a character as Stanislavski creates.
May 13, 2009
this book is instrumental to my instrument.
November 14, 2010
In Building a Character, Stanislavski outlines the work an actor needs to do to develop himself to have a sharp vocal, physical, and emotionally expressive instrument. Again a brilliant book.
October 31, 2016
Did not like this as much as the first. Found it tedious to read and everything was a bit too repetitive.
October 31, 2017
Не буквально "учебник", но поучительное чтение с изложением "системы Станиславского".
Read
June 5, 2022Russian Theatre Director (the Founder of Moscow Art Theatre) Konstantin Stanislavski's "Building a Character" is one of the main sourcebooks for writing play in the modern dramaturgy. Konstantin Stanislavski's "Building a Character" is a scientific work about an old art: Theatre. What is a play? Who is a play character? How can a playwright create a play character, how can an actor play a character on the stage? What are the stages, the rules, the structures of a theatre play, of "building a character" on the stage? Which concepts can we use for understanding the modern playwriting? Konstantin Stanislavski writes the principles of modern dramaturgy; Stanislavski suggests concepts, categories, techniques of modern playwriting! Konstantin Stanislavski's "Building a Character" keeps its power one century later, when we study for playwriting, plays role the strongest source!
August 11, 2018
Building A Character by Konstantin Stanislavski is a textbook masquerading as a novel. Constantin Stanislavski is best known for his ‘system’ of actor training, preparation and rehearsal technique. Written in 1948 and translated into English in 1950, the book reads like a novel and is about Tortsov, the Director of the school and theatre who gives acting lessons to his students. Why this book is written as a novel, I have no idea. But I do know that it does not work. The entire book is in quotes. There is no real story, very little description of anything. Just dialogue. I found the way the book was written to be distracting and interfered with the learning experience. This could have been a great text book but it is not.
January 18, 2021
The perfect follow-up to An Actor Prepares in that it balances out the heavy psycho-technique of Stanislavsky's first book, with an emphasis on the physicality of a character and role. But it doesn't ditch the teachings of the first book, it builds on them, demonstrating how a character's physicality is inextricably linked to their internal, emotional landscape.
The greatest takeaway from this book is the importance of keeping one's own body healthy and nimble. Ultimately, it is the actor's instrument, and just as musicians clean and tune their instruments before use, actors too, ought to keep their bodies tuned and prepared for the intense physical work their next job will bring.
The greatest takeaway from this book is the importance of keeping one's own body healthy and nimble. Ultimately, it is the actor's instrument, and just as musicians clean and tune their instruments before use, actors too, ought to keep their bodies tuned and prepared for the intense physical work their next job will bring.
April 12, 2021
Libro bien narrado con lecciones útiles sobre la dicción, manejo corporal y tono de voz que debería tener un actor. Lo más interesante es, sin duda, cuando explica el motor creador de la actuación, que es la imagen mental. Ahí eres capaz de entender el arte de la actuación y, si eres escritor, encontrarán un nuevo punto de apoyo para tu desarrollo artístico.
Lo importante no es mover la cara y el cuerpo, sino saber que lo que dices es coherente con el momento y el lugar.
Lo importante no es mover la cara y el cuerpo, sino saber que lo que dices es coherente con el momento y el lugar.
May 31, 2018
From probably the most famous of all acting teachers, this fictional tale of a Russian acting troupe and its charismatic leader serves to teach the secrets of the method actor and all that goes into creating and being the character you are portraying. The language is not the easiest to follow but the science and thought is fascinating.
November 3, 2018
Konstantin Sergeievich Stanislavski (1863-1938) es uno de los nombres fundamentales del arte dramático. Su método, desarrollado a lo largo de décadas, es la columna vertebral de este gran libro. Infaltable en las bibliotecas de los amantes del Teatro.
April 8, 2024
Really thorough & fascinating examination of steps he believed were involved in Building a Character for an authentic presentation on stage! Enjoyed even more than the 1st book, which I liked, as I continue to learn & build my new career!! ☺️🗣️🎙️🎭
May 24, 2018
Great material
Covers precisely the aspects of character building. Though many aspects cannot be learned, only it can be improvised through sequential practice.
Covers precisely the aspects of character building. Though many aspects cannot be learned, only it can be improvised through sequential practice.
September 30, 2018
Joitain mainioita hetkiä ja mielenkiintoisia pohdintoja taiteesta. Osa kuvatuista harjoituksista ei luettuna täysin auennut ja jaksanut kiinnostaa.
August 5, 2019
I am just a vehicle for my subconscious, abundant creative nature to make its way into the world
Cheers Konstantin
Cheers Konstantin
September 15, 2020
Must read for theatre as well as film actors...
August 28, 2021
An essential read for new actors
Displaying 1 - 30 of 52 reviews