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.
By:
John Gillett (Independent scholar UK)
Imprint: Methuen Drama
Country of Publication: United Kingdom
Dimensions:
Height: 229mm,
Width: 150mm,
Spine: 18mm
Weight: 500g
ISBN: 9781408184981
ISBN 10: 1408184982
Pages: 344
Publication Date: 13 February 2014
Audience:
College/higher education
,
Professional and scholarly
,
Primary
,
Undergraduate
Format: Paperback
Publisher's Status: Active
Acknowledgements Foreword, by Sam West Introduction – acting in context PART ONE STARTING FROM NOTHING Chapter 1 Awareness Chapter 2 Ease and focus PART TWO IMAGINATION AND ACTION – CREATING THE FOUNDATIONS Chapter 3 Acting in circumstances Chapter 4 Acting with others Chapter 5 What do I want? PART THREE DEVELOPING THE IMAGINARY REALITY – IMAGES, SENSING, FEELING Chapter 6 Imagining the action Chapter 7 Sensing Chapter 8 Feeling Chapter 9 Atmosphere PART FOUR EXPLORING TEXT AND CHARACTER Chapter 10 Meeting the play Chapter 11 Meeting the character PART FIVE CREATING THE LIFE OF THE ROLE Chapter 12 Discovering the action – active analysis Chapter 13 Embodiment – physical expression of the character Chapter 14 Refining the role Chapter 15 The character PART SIX BEYOND THE ROLE Chapter 16 Acting ethics Chapter 17 Working together Chapter 18 An open conclusion A map of the organic acting process Glossary Selected bibliography Index
John Gillett trained as an actor in the Stanislavski and Michael Chekhov techniques between 1969 and 1971 and has worked widely as an actor in repertory, touring, small-scale and London theatre, radio, film and television. He has directed and taught acting in drama schools, was Head of the Post Graduate Acting Course at East 15 Acting School, UK, helped to run two theatre companies and teaches acting training for professional actors. He is a member of Equity, and his website is www.gillettweb.co.uk.
Reviews for Acting Stanislavski: A practical guide to Stanislavski’s approach and legacy
A manual full of enabling, easing exercises - it will enable you to analyse any scene. The cry of the actor at sea, 'I don't know what I'm doing,' should, with this book, become a thing of the past. * Sam West, Actor and Director * This is probably the single most useful and powerfully presented summation of Stanislavski's approach to acting available ... What sets this book apart from other recent studies is that the Stanislavskian approach has been filtered through a lifetime of practice - the`concentrate' that emerges is crystal clear, an explication of the `system' which makes absolute practical sense for the actor ... The primary strength and authority of this book is derived from the single fact that he is an actor addressing other actors with the impassioned objective of encouraging them to take responsibility for their own art and to have `respect' for what they do. -- Julian Jones * New Theatre Quarterly * I'd recommend this book to anyone wanting an introduction to Stanislavksi or Michael Chekhov or acting in general. * Matt Peover, LAMDA trainer and theatre director. * Contains all the important things that need to be said about learning to act . . . in an extremely logical and sensible manner * Simon Dunmore, Editor, Actors Yearbook * It sets the record straight in terms of what Stanislavski was actually about. Its invaluable. * Marina Calderone, co-author 'ACTIONS, The Actor's Thesaurus' * This is an excellent book - one of the best of its kind that I have read. John Gillett's book is way out in front in that it offers both scholarship and really sound practical strategies * Annie Tyson, acting tutor at RADA and Drama Centre * If an actor was to have just one book on the process of acting on their shelf it should be this one * Edda Sharpe, co-author of 'How To Do Accents' *
