Acting: The First Six Lessons by Richard Boleslavsky

By Richard Boleslavsky

This vintage paintings on appearing is among the only a few that stands beside Stanislavsky as a must have for all performing scholars and pros. Richard Boleslavsky's performing: the 1st Six classes is a treasure-box of clever remark in regards to the paintings of performing, all wrapped up in six fascinating dialogues among a instructor and a scholar. Generations of actors were enriched via Boleslavsky's witty and acute photograph of the actor's craft. those six "lessons" - miniature dramas approximately focus and reminiscence of emotion - distill the problem dealing with each actor. For this reissue the textual content has been totally reset and the publication jacketed in a latest layout. an important paintings at the brief shelf of any appearing pupil.

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Additional info for Acting: The First Six Lessons

Sample text

THE CREATURE: You have. I: Are you willing to listen now, with as little interruption as possible? THE CREATURE: I am. I: All right. Look at that marble fountain. It was made in 1902 by Arthur Collins. THE CREATURE: How do you know! I: It is chiselled on the rim of the base. You promised not to interrupt me. THE CREATURE: Sorry. I: How do you like Mr. Collins’ work? THE CREATURE: Not bad. Quite simple and clear in form. It harmonizes with the landscape; it is noble. Made in 1902, it has definite traces of modern conception.

I take my hat off as I enter the stage. It is dark. One electric bulb etches a halo in the centre of the darkness. ) THE CREATURE: Sit here, please; don’t say anything; don’t interrupt me. Let me act a few scenes in succession for you, then tell me what is wrong. (She goes back to the stage. I am left alone, in a space bordered by glittering dark holes of boxes, by silent rows of chairs covered with canvas, by faint outside noises. All the shadows are strange and solid. The quiet is trembling and alive.

The subject is delicate. You will find the trend and lose it again many times. Don’t get discouraged. Remember, this is an actor’s MEMORY OF EMOTION 29 fundamental work—to be able “to be” what he desires consciously and exactly. THE CREATURE: In my particular case, how would you suggest that I bring back what I seem to have found and lost? I: First of all, work on it alone. It was all right for me to demonstrate as I did to show you the way, but your actual work is done in solitude—entirely inside of yourself.

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