By Richard Boleslavsky
This vintage paintings on appearing is among the only a few that stands beside Stanislavsky as essential for all performing scholars and execs. Richard Boleslavsky's performing: the 1st Six classes is a treasure-box of clever statement in regards to the paintings of appearing, all wrapped up in six captivating 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 solely reset and the publication jacketed in a latest layout. an important paintings at the brief shelf of any performing pupil.
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Extra info for Acting: The First Six Lessons
They will say, “You are very good, but you lack experience”—and that’s all. What is that cursed experience? There isn’t a thing anybody can tell me about that part—I know everything about it. I look like it, I feel every single minute of it and each change. I know I can act it. And then—“experience”! Oh, I wish I could use some of the words that that motorman used who nearly ran over me. I didn’t hear them, but judging from his face, I know they would be right. As a matter of fact, I think I can guess what they were—and oh, how I could use them now!
It is that which makes experience an essential part of our life and craft. All we have to do is to know how to use it. THE CREATURE: But where is it? How do you get it? Does anybody know about it? I: Oh, quite a number of people. The French psychologist, Théodule Ribot,* was the first to speak of it over twenty years ago. ” THE CREATURE: How does it work? * Théodule Ribot: Problèmes de Psychologic Affective: Felix Actan. Paris. MEMORY OF EMOTION 23 I: Through all the manifestations of life and our sensitivity toward them.
I: Is she really your mother? THE CREATURE: No. I: Then what difference does it make? The theatre exists to show things which do not exist actually. When you love on the stage, do you really love? Be logical. You substitute creation for the real thing. The creation must be real, but that is the only reality that should be there. Your experience of double feeling was a 28 THE SECOND LESSON fortunate accident. Through your will power and the knowledge of your craft you have organized it and re-created it.
Acting: The First Six Lessons by Richard Boleslavsky