An Actor Prepares

Author: Constantin Stanislavski
Published: 1989-04-28

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Incomplete, Innacurate, Problematic Translation
Stanislavski is a familiar name in theatre circles. The legendary director of the Moscow Art Theatre wrote perhaps some of the most influential books on acting in the last century. I could list the big names who cite his influence (most famously, Marlon Brando and Sir John Gielgud), but the fact is his teachings have become so much a part of the way we approach theatre, that almost any actor in the English-speaking world (and abroad) can claim at least some influence.

Elizabeth Hapgood's translation of Stanislavski's work (featured on this page) remains the most widely circulated among English speakers. Unfortunately, it is also highly problematic. By publishing her translations as two separate books "An Actor Prepares" and "Building a Character", Hapgood unintentionally misrepresented Stanislavski's original intentions. In actuality, "An Actor Prepares" and "Building a Character" were both written as two parts of a single book, called "An Actor's Work on Himself."

Hapgood had worked with Stanislavski on an early version of Part One. However, Stanislavski continued to revise his manuscript even after Hapgood had returned home to America. What would eventually be published as "An Actor Prepares" was actually a much-abridged version of what she received from Stanislavski. Not only that, but it is missing Stanislavski's subsequent revisions.

The translation itself is especially difficult to get through. The diction is quaint and Victorian and brings to mind Constance Garrett's dowdy translations of Dostoevsky. What's more is that Stanislavski's sense of humor is largely censored, in favor of contriving a more flowing narrative. While this is understandable, this drastically alters the reader's understanding of Stanislavski's system. The original featured more dialogue among the students to flesh out the concepts in better detail.

To read a modern translation of Stanislavski's work in its complete form, check out Jean Benedetti's excellent An Actor's Work. Up until the publication of Benedetti's book, I would have been perfectly content to recommend the Hapgood version. But the release of the new translation, which is both more readable and truer to Stanislavski's intentions, now fully highlights how impoverished this edition actually is.

clog dancing

Very Informative
This book is very informative and resourceful. It teaches you the true method of acting.

clog dancing

any performing artist should read this book...
the magic 'if' can transform worlds for you...the grand Master Stanislavski in a rough interpretation brings you his mystery of acting..has any acting technique been more misrepresented then 'the method'? ..read how MR S wanted to reach actors, how they went about rehearsing...how they realized their most important job was being true to the playwrights words..much to Anton Chekov's delight..how they built layer upon layer of developing a character..I think this book will enhance any artist, hold magic over them and let them develop their own magic 'if'..what if I was a king? what if I was a world famous dancer? what if I can make any dream come true? what if?

clog dancing

Definitely The Bible for actors.
I had to buy this book for an acting class I am currently taking in college. If you were to open my book, you'll notice the bright color of my highlighter. It is highly informative and intellectually stimulating for those who want to be actors, or people who are simply interested in acting.

clog dancing

Absolutely essential read
This book is an absolute MUST READ for all actors. I am convinced that no-one should be allowed on stage until they have read this book.

Stanislavski's ideas form the basis of most modern acting techniques, as well they should. Before I studied Stanislavski, I had always felt there was something lacking in my acting and could never quite figure out what; I discovered it when I studied Stanislavski.

My one complaint is that the translation is bad. The translator was NOT an actor, and many cuts were made to the original text. This has resulted in many confusions about what Stanislavski actually said.

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