Explanatory Note by the Translator 1. Toward a Physical Characterization 2. Dressing a Character 3. Characters and Types 4. Making the Body Expressive 5. Plasticity of Motion 6. Restraint and Control 7. Diction and Singing 8. Intonations and Pauses 9. Accentuation: The Expressive Word 10. Perspective in Character Building 11. Tempo-Rhythm in Movement 12. Speech Tempo-Rhythm 13. Stage Charm 14. Toward an Ethics for the Theatre 15. Patterns of Accomplishment 16. Some Conclusions on Acting Index.
Developing his influential 'system', Stanislavski explores how an actor develops a character through physical expression, movement and speech.
Konstantin Stanislavski (1863-1938) was a Russian director who sought 'inner realism' by insisting that his actors find the truth within themselves and 'become' the characters they portrayed. His work brought international fame to the Moscow Art Theatre, which he had co-founded with Vladimir Nemirovich-Danchenko in 1897. During his early years at the Moscow Art Theatre, he directed the first productions of Chekhov's Uncle Vanya (1899), Three Sisters (1901) and The Cherry Orchard (1904) as well as a series of celebrated versions of Shakespeare. Stanislavski toured America with the company in 1923. After World War II, the US edition of Stanislavski's treatise An Actor Prepares (1926) became a bible of the Method school of acting.