Working on the Play and the Role: The Stanislavsky Method for Analyzing the Characters in a Drama

by Irina Levin, Igor Levin

Overview

In order to create a living character on the stage, the actor needs more than masterful technique. He must work on the play in a way that will enable him to understand the meaning of each of the roles in it, and the nature of the relations between these roles. Stanislavsky developed his method of working on the play and the role over many years, but because it was constantly being modified and improved, only fragments of the method were ever recorded. Now Irina and Igor Levin have systematized the method, clearly setting forth its principles and demonstrating precisely how they are put to use. Using the complete text of Chekhov's The Cherry Orchard and breaking it into individual "events;" they take the reader through each situation in the play, exploring the motivations and feelings of the characters. The reader emerges with a fine understanding of the play and its roles, and with a method that can be used successfully to analyze any drama. "An excellent book, highly useful for actors and directors both in its principles and in its detailed analyses of text and subtext."—Nicholas Rudall, Court Theatre.

Product Details

ISBN-13:	9781461720980
Publisher:	Dee, Ivan R. Publisher
Publication date:	06/01/1992
Sold by:	Barnes & Noble
Format:	eBook
Pages:	187
File size:	2 MB

About the Author

Irina Levin worked for many years as an actress, director, and drama teacher in Russia. Since coming to the United States in 1976, she has taught and directed. Igor Levin is a mathematician.

What People are Saying About This

Nicholas Rudall

An excellent book, highly useful for actors and directors both in its principles and in its detailed analyses of text and subtext.

Editorial Reviews

An excellent book, highly useful for actors and directors both in its principles and in its detailed analyses of text and subtext.

Court Theatre - Nicholas Rudall

An excellent book, highly useful for actors and directors both in its principles and in its detailed analyses of text and subtext.
— Nicholas Rudall

Court Theatre