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.

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.

An Actor’s Work on a Role is Konstantin Stanislavski’s exploration of the rehearsal process, applying the techniques of his seminal actor training system to the task of bringing truth to one’s chosen role.

Originally published over half a century ago as Creating a Role, this book was the third in a planned trilogy – after An Actor Prepares and Building a Character, now combined in An Actor’s Work – in which Stanislavski sets out his psychological, physical and practical vision of actor training.

This new translation from renowned scholar Jean Benedetti not only includes Stanislavski’s original teachings, but is also furnished with invaluable supplementary material in the shape of transcripts and notes from the rehearsals themselves, reconfirming ''The System'' as the cornerstone of actor training.

An Actor’s Work on a Role is Konstantin Stanislavski’s exploration of the rehearsal process, applying the techniques of his seminal actor training system to the task of bringing truth to one’s chosen role.

Originally published over half a century ago as Creating a Role, this book was the third in a planned trilogy – after An Actor Prepares and Building a Character, now combined in An Actor’s Work – in which Stanislavski sets out his psychological, physical and practical vision of actor training.

This new translation from renowned scholar Jean Benedetti not only includes Stanislavski’s original teachings, but is also furnished with invaluable supplementary material in the shape of transcripts and notes from the rehearsals themselves, reconfirming ''The System'' as the cornerstone of actor training.

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.

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.

Konstantin Stanislavski was a Russian director who transformed theatre in the West with his contributions to the birth of Realist theatre and his unprecedented approach to teaching acting. He lived through extraordinary times and his unique contribution to the arts still endures in the twenty-first century. He established the Moscow Art Theatre in 1898 with, among other plays, the premiere of Chekhov''s The Seagull. He also survived revolutions, lost his fortune, found wide fame in America, and lived in internal exile under Stalin''s Soviet Union.

Before writing his classic manual on acting, Stanislavski began writing an autobiography that he hoped would both chronicle his rich and tumultuous life and serve as a justification of his aesthetic philosophy. But when the project grew to ''impossible'' lengths, his publisher (Little, Brown) insisted on many cuts and changes to keep it to its deadline and to a manageable length. The result was a version published in English in 1924, which Stanislavski hated and completely revised for a Soviet edition that came out in 1926.

Now, for the first time, translator Jean Benedetti brings us Stanislavski''s complete unabridged autobiography as the author himself wanted it – from the re-edited 1926 version. The text, in clear and lively English, is supplemented by a wealth of photos and illustrations, many previously unpublished.

Konstantin Stanislavski was a Russian director who transformed theatre in the West with his contributions to the birth of Realist theatre and his unprecedented approach to teaching acting. He lived through extraordinary times and his unique contribution to the arts still endures in the twenty-first century. He established the Moscow Art Theatre in 1898 with, among other plays, the premiere of Chekhov''s The Seagull. He also survived revolutions, lost his fortune, found wide fame in America, and lived in internal exile under Stalin''s Soviet Union.

Before writing his classic manual on acting, Stanislavski began writing an autobiography that he hoped would both chronicle his rich and tumultuous life and serve as a justification of his aesthetic philosophy. But when the project grew to ''impossible'' lengths, his publisher (Little, Brown) insisted on many cuts and changes to keep it to its deadline and to a manageable length. The result was a version published in English in 1924, which Stanislavski hated and completely revised for a Soviet edition that came out in 1926.

Now, for the first time, translator Jean Benedetti brings us Stanislavski''s complete unabridged autobiography as the author himself wanted it – from the re-edited 1926 version. The text, in clear and lively English, is supplemented by a wealth of photos and illustrations, many previously unpublished.

Mitä on näyttelijätaide? Mikä on luova tila ja miten sen voi saavuttaa? Entä maaginen jos, emotionaalinen muisti ja alateksti? Miten saavuttaa inspiraatio tietyllä kellonlyömällä? Miten välttyä rutiinimaisuudelta? Stanislavskin Näyttelijän työ on alansa ohittamaton klassikko.Venäläisen näyttelijän, ohjaajan ja pedagogin Konstantin Stanislavskin teos Näyttelijän työ 1 ja 2, oppilaan päiväkirja on näyttämötaiteen klassikko, näyttelijäntyön ohittamaton perusteos. Stanislavskin (1863 1938) järjestelmä on systemaattinen tapa opettaa näyttelijän ja ohjaajan työtä ja luoda aito vuorovaikutus näyttämön ja katsomon välille.Vaikka Stanislavski loi systeeminsä usean vuosikymmenen aikana 1800-luvun lopulta 1900-luvun alkuvuosikymmenille, hänen oppinsa ovat yhä moderneja ja tänä päivänä korvaamattomia niin teatterissa, elokuvassa, oopperassa ja muissa esittävissä taiteissa. Stanislavskin laaja tutkimustyö on nousemassa uuteen arvostukseen niin Amerikassa, Euroopassa, Venäjällä kuin Pohjoismaissakin. Näyttelijän työ 1 ja 2 on Venäjällä kouluttautuneen teatterintekijä Kristiina Revon useita vuosia valmistelema uusi suomennos, joka päivittää ja tarkentaa lukuisia Stanislavskin keskeisiä termejä ja ajatuksia tähän päivään.Näyttelijän työn kaksi ensimmäistä teosta julkaistaan nyt yhtenä kirjana, joka sisältää paljon Suomessa ennen julkaisematonta materiaalia.''Romaanimuotoinen, näyttelijäoppaan päiväkirjaksi kirjoitettu teos on vuoroin hauska, runollinen, syvämietteinen ja - mikä parasta - äärimmäisen selkeä. Kristiina Revon komeana uutena suomennoksena ilmestyvä monumentaalinen Näyttelijän työ on alan ensimmäinen todellinen - ja ehkä edelleenkin paras - oppikirja'' Lauri Timonen, Satakunnan Kansa 15.8.2011''Näyttelijän Työ on omaperäinen näyttämötaiteen opaskirja. Suosittelen Näyttelijän työtä ehdottomasti kaikille näyttämötaiteesta kiinnostuneille. Opetustilanteet ovat aidonoloisia, eikä teksti todellakaan ole tylsää, vaan Näyttelijän työ on kuin näytelmä itsessään.'' Johanna Torvinen, Lukufiilis 2011/3

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.

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.

An Actor’s Work on a Role is Konstantin Stanislavski’s exploration of the rehearsal process, applying the techniques of his seminal actor training system to the task of bringing truth to one’s chosen role.

Originally published over half a century ago as Creating a Role, this book was the third in a planned trilogy – after An Actor Prepares and Building a Character, now combined in An Actor’s Work – in which Stanislavski sets out his psychological, physical and practical vision of actor training.

This new translation from renowned scholar Jean Benedetti not only includes Stanislavski’s original teachings, but is also furnished with invaluable supplementary material in the shape of transcripts and notes from the rehearsals themselves, reconfirming ''The System'' as the cornerstone of actor training.

An Actor’s Work on a Role is Konstantin Stanislavski’s exploration of the rehearsal process, applying the techniques of his seminal actor training system to the task of bringing truth to one’s chosen role.

Originally published over half a century ago as Creating a Role, this book was the third in a planned trilogy – after An Actor Prepares and Building a Character, now combined in An Actor’s Work – in which Stanislavski sets out his psychological, physical and practical vision of actor training.

This new translation from renowned scholar Jean Benedetti not only includes Stanislavski’s original teachings, but is also furnished with invaluable supplementary material in the shape of transcripts and notes from the rehearsals themselves, reconfirming ''The System'' as the cornerstone of actor training.

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.

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.

Konstantin Stanislavski was a Russian director who transformed theatre in the West with his contributions to the birth of Realist theatre and his unprecedented approach to teaching acting. He lived through extraordinary times and his unique contribution to the arts still endures in the twenty-first century. He established the Moscow Art Theatre in 1898 with, among other plays, the premiere of Chekhov''s The Seagull. He also survived revolutions, lost his fortune, found wide fame in America, and lived in internal exile under Stalin''s Soviet Union.

Before writing his classic manual on acting, Stanislavski began writing an autobiography that he hoped would both chronicle his rich and tumultuous life and serve as a justification of his aesthetic philosophy. But when the project grew to ''impossible'' lengths, his publisher (Little, Brown) insisted on many cuts and changes to keep it to its deadline and to a manageable length. The result was a version published in English in 1924, which Stanislavski hated and completely revised for a Soviet edition that came out in 1926.

Now, for the first time, translator Jean Benedetti brings us Stanislavski''s complete unabridged autobiography as the author himself wanted it – from the re-edited 1926 version. The text, in clear and lively English, is supplemented by a wealth of photos and illustrations, many previously unpublished.

Konstantin Stanislavski was a Russian director who transformed theatre in the West with his contributions to the birth of Realist theatre and his unprecedented approach to teaching acting. He lived through extraordinary times and his unique contribution to the arts still endures in the twenty-first century. He established the Moscow Art Theatre in 1898 with, among other plays, the premiere of Chekhov''s The Seagull. He also survived revolutions, lost his fortune, found wide fame in America, and lived in internal exile under Stalin''s Soviet Union.

Before writing his classic manual on acting, Stanislavski began writing an autobiography that he hoped would both chronicle his rich and tumultuous life and serve as a justification of his aesthetic philosophy. But when the project grew to ''impossible'' lengths, his publisher (Little, Brown) insisted on many cuts and changes to keep it to its deadline and to a manageable length. The result was a version published in English in 1924, which Stanislavski hated and completely revised for a Soviet edition that came out in 1926.

Now, for the first time, translator Jean Benedetti brings us Stanislavski''s complete unabridged autobiography as the author himself wanted it – from the re-edited 1926 version. The text, in clear and lively English, is supplemented by a wealth of photos and illustrations, many previously unpublished.

Mitä on näyttelijätaide? Mikä on luova tila ja miten sen voi saavuttaa? Entä maaginen jos, emotionaalinen muisti ja alateksti? Miten saavuttaa inspiraatio tietyllä kellonlyömällä? Miten välttyä rutiinimaisuudelta? Stanislavskin Näyttelijän työ on alansa ohittamaton klassikko.Venäläisen näyttelijän, ohjaajan ja pedagogin Konstantin Stanislavskin teos Näyttelijän työ 1 ja 2, oppilaan päiväkirja on näyttämötaiteen klassikko, näyttelijäntyön ohittamaton perusteos. Stanislavskin (1863 1938) järjestelmä on systemaattinen tapa opettaa näyttelijän ja ohjaajan työtä ja luoda aito vuorovaikutus näyttämön ja katsomon välille.Vaikka Stanislavski loi systeeminsä usean vuosikymmenen aikana 1800-luvun lopulta 1900-luvun alkuvuosikymmenille, hänen oppinsa ovat yhä moderneja ja tänä päivänä korvaamattomia niin teatterissa, elokuvassa, oopperassa ja muissa esittävissä taiteissa. Stanislavskin laaja tutkimustyö on nousemassa uuteen arvostukseen niin Amerikassa, Euroopassa, Venäjällä kuin Pohjoismaissakin. Näyttelijän työ 1 ja 2 on Venäjällä kouluttautuneen teatterintekijä Kristiina Revon useita vuosia valmistelema uusi suomennos, joka päivittää ja tarkentaa lukuisia Stanislavskin keskeisiä termejä ja ajatuksia tähän päivään.Näyttelijän työn kaksi ensimmäistä teosta julkaistaan nyt yhtenä kirjana, joka sisältää paljon Suomessa ennen julkaisematonta materiaalia.''Romaanimuotoinen, näyttelijäoppaan päiväkirjaksi kirjoitettu teos on vuoroin hauska, runollinen, syvämietteinen ja - mikä parasta - äärimmäisen selkeä. Kristiina Revon komeana uutena suomennoksena ilmestyvä monumentaalinen Näyttelijän työ on alan ensimmäinen todellinen - ja ehkä edelleenkin paras - oppikirja'' Lauri Timonen, Satakunnan Kansa 15.8.2011''Näyttelijän Työ on omaperäinen näyttämötaiteen opaskirja. Suosittelen Näyttelijän työtä ehdottomasti kaikille näyttämötaiteesta kiinnostuneille. Opetustilanteet ovat aidonoloisia, eikä teksti todellakaan ole tylsää, vaan Näyttelijän työ on kuin näytelmä itsessään.'' Johanna Torvinen, Lukufiilis 2011/3