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Stanislavski In Rehearsal
Vasili Toporkov
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Stanislavski In Rehearsal
Vasili Toporkov
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A rare insider's account of the true story behind the development of the famous Stanislavski method.
Vasili Toporkov was one of the rare outsiders ever to be invited to join the Moscow Art Theatre. Although already an experienced and accomplished artist, he was forced to retrain as an actor under Stanislavski's rigorous guidance. Stanislavski in Rehearsal is Toporkov's vivid account of this learning process, offering an eloquent and jargon-free insight into Stanislavski's legendary 'system' and his method of rehearsal that became known as the Method of Physical Action. Spanning ten years - from 1928 to 1938 - Toporkov charts the last crucial years of Stanislavski's work as a director and offers the only reliable biographical sketch that we have.
Through Toporkov's account, Stanislavski is revealed as a multi-faceted personality - funny, furious, kind, ruthless, encouraging, exacting - waging a war against clichés and quick answers, inspiring his actors and driving them to despair in his pursuit of artistic perfection.
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164
Conclusion
to
upstage
the
other
actors
and
drown
their
lines
or
use
them
cleverly
to
make
their
success
your
own,
etc.,
etc.,
is
just
a
collection
of
stock
industrial
skills.
They
can
be
crude,
as
I
have
said,
or
more
subtle
when
a
more
demanding
audience
sees
their
skills
at
work
but
they
cannot
essentially
be
regarded
as
what
Stanislavski
called
artistic
technique
and
so
are
of
no
interest
to
us.
So,
great
acting
demands
characters
who
are
genuine,
living
people.
The
actor
who
succeeds
from
time
to
time
in
creating
a
fusion
between
the
character
in
the
play
and
himself
undoubtedly
feels
something
important
has
occurred
and
experiences
artistic
pleasure.
This
doesn’t
happen
very
often
and
so,
once
having
felt
it,
actors
are
always
dissatisfied
with
any
kind
of
surrogate
in
their
work,
even
when
a
routine
performance
is
successful
with
the
audience.
No,
only
when
an
actor
has
genuinely
lived
the
life
of
a
character
he
has
created
in
his
imagination,
and
when
the
logic
of
that
being
has
become
his
logic,
and
the
actions
which
this
logic
dictates
are
performed
in
all
their
subtlety
by
the
obedient,
living
organs
of
the
actor/person,
when
all
the
subtle
experiences
and
the
events
his
brain
has
conceived
have
been
absorbed
into
his
own
nervous
system,
does
he
begin
to
feel
the
joy
of
a
master
who
has
created
a
genuine
work
of
art.
Rooting
himself
in
the
great
traditions
of
the
Russian
theatre,
studying
the
techniques
of
acting
and
directing,
Stanislavski
achieved
results
that
were
unprecedented
in
the
history
of
world
theatre.
His
gigantic
step
forward
in
developing
and
strengthening
politically
committed
realism
–
which
has
always
distinguished
our
national
theatre
–
as
a
forward-looking
force,
and
in
arming
actors
with
a
progressive
technique,
which
helps
them
attain
this
goal,
is,
indeed,
an
invaluable
service
to
the
theatre,
and
we
must
praise
a
genius
of
the
Soviet
fatherland.
The
great
socialist
October
Revolution
opened
up
such
limitless
opportunities
for
Stanislavski’s
creative
experiments
as
we
can
only
dream
of.
It
enabled
this
great
theatrical
master
to
complete
the
studies
he
had
pursued
all
his
life,
brilliantly.
Stanislavski’s
legacy
must
be
studied
thoroughly
and
mastered
as
the
most
perfect
weapon
in
our
struggle
for
great
ideas
on
the
cultural
front.