FILM WILCZE ECHA
Take as "Romeo", do not be afraid of what the play is played a lot.Romeo to play or mature master or twenty years, when everything is fresh for emotional memories. Take in these studies of people who want to become masters, and not stop at the difficulties of the process of work. Vyakhirev was suggested 'Hamlet', and I - "Romeo and Juliet."This meeting with Stanislavski us also remember that we have with him a long conversation about the basics of working on the show for the new method. It started with our own, may not be very relevant questions: where to start, what to seek from the actors.But Stanislavski understood our situation, our desire, starting to work independently, to clarify those previously studied, to learn something new that appeared in the method in the most recent times. He managed to direct the conversation so that the questions that we have the strength, we meet ourselves. - And how do you feel?- In turn, asked Stanislavsky. - Here you are the director, - he said to me - you have a play. What should you do first? - I would divide it into pieces. - What - large or small? - First, the big, then into small ones. - So good. Why do we break the play into large pieces? - To schedule-through.- Right, - said Konstantin Stanislavski. - But you first need to find the most important task of the play, at least approximately. When you define the most important task, divide the play into scenes, facts.The initial phase of the director's work with actors is to give a number of studies, kotoryesootvetstvovali episodes would play, and work them through physical actions. Now tell me - asked Stanislavsky to us - what the artist held the role for physical action.- The physical action - we began to respond excitedly, - affordable than subtle inner sense, it is more convenient to fix, it is the material, apparently. Physical activity has a close relationship with all other elements: for physical action can not be without desires and goals, no 146 internal justify their feelings.Physical action in his live incarnation on stage makes the artist to create on its own motion all sorts of inventions of the imagination, given circumstances, "if." Sense of righteousness, faith, logic and consistency to develop physical activities.- That's right - confirmed Stanislavsky and continued, - a new feature of my technique is that it helps to extract the soul of the creator chelovekaartista of his emotional memories of his desires, and other internal elements of its own, vibrant, inner material, similar to the role.- Stanislavski - decided to ask him myself. - Could you have a specific example, in the episode kakomnibud tell him how to go through the physical actions? Look online
. - Well, well, let's try. Take for example someone you play "The Cherry Orchard." Do you think, for example, that the first episode of "meeting."Someone comes, someone meets. All creativity, as you know, begins with "if." In this case - that if this room was not room, but, for example, the station platform.