Take the same episode:Juliet trevozhnolyubovnoy atmosphere of the previous scene into the atmosphere terrible, vrazhdebnonapryazhennuyu, it seems to be rushing to "stone bag", is trying to save his love, bumping into the granite walls and corners and fatally injuring his heart and soul. After work, we have shown that academic performance committee. The committee consisted of:Our artistic director of Cedars, Sokolova, director of studio Rafailov, Shakespeare Morozov, a translator of the play "Romeo and Juliet" Radlov. The performance was praised. In the discussion above, it is a real Shakespeare with his passions, the ups and downs;uhvachena feature that people of that time - a quick transition from one state to another - their organic contrasts. There were also the most successful actors work - primarily Mishchenko, who plays Juliet, and Rubtsov, Smolitsch, Zinkovskaya, Orlova.Management has decided to include the training performance of the repertoire of the studio. For registration was invited artist Shestakov. The artistic director of the production was the Cedars, I remained a director. Work in full swing. The play was finished, the prime minister is appointed to June 1941. But the war, and the play was not to see the light rail.Elements of psycho-acting training and drill of the Stanislavsky system can not be studied and mastered the more purely speculative, theoretical way. It must possess almost a process of "training and drills," as used to say Stanislavski.My experience Opernodramaticheskoy studio under the direction of Stanislavsky, Lili and other great masters of the theater, the long experience of independent teaching and directing the activities gave me the opportunity to prepare a practical guide to the Stanislavski system, which constitutes the second part of this book.It aims to give a practical methodology for the study of the Stanislavsky system. This, of course, does not mean that every sentence in the book of exercise should be seen as an example, that you want to blindly follow, which can be mechanically copied without real possibilities.We should not just repeat the exercises, and do it creatively, thinking the feasibility of individual techniques, course activities, its direction with respect to the conditions of each studio course or theater.Director or teacher, learning the system, should not see it as a recipe, it must find their own ways and methods of training, going from my own observations, experience. An actor mainly practical. "To know, to understand the actor's language, - said Stanislavski - is to feel."Therefore, mastering the profession begins with actor science learning about the art of the actor, from the very beginning. Without knowledge of the underlying skill inappropriate to give students work directly on the role. Watch the film 1942 online
. "You all want to play, - said Stanislavski - and if we give up and let you play, then you are lost. You'll pick up now acting pieces ...You must learn to "eat of knowledge." I'm always in such cases, remember Chaliapin.