Endnotes

Variant versions of Russian names appear in these endnotes due to authors choosing different, yet equally valid, transliteration systems.

1Constantin Stanislavski, An Actor Prepares, translated by Elizabeth Reynolds Hapgood (London: Methuen 1980), pp. 67, 68

2Stanislavsky, cited in Jean Benedetti’s Stanislavski: His Life and Art (London: Methuen 1999), p. 23

3Constant Coquelin, The Art of the Actor, translated by Elsie Fogerty (London: Allen and Unwin 1932), p. 81

4Constantin Stanislavski, Stanislavski’s Legacy: A Collection of Comments on a Variety of Aspects of an Actor’s Art and Life, edited and translated by Elizabeth Reynolds Hapgood (New York: Theatre Arts, Routledge 1999), p. 52

5David Mamet, True and False: Heresy and Common Sense for the Actor (London: Faber and Faber 1998), p. 30

6Michael Chekhov, To the Actor on the Technique of Acting (London: Routledge 2002), p. 13

7Jerzy Grotowski, Towards a Poor Theatre (London: Eyre Methuen 1976), p. 101

8Constantin Stanislavski, Creating a Role, translated by Elizabeth Reynolds Hapgood (London: Methuen 2000), p. 26

9Constantin Stanislavski, Building a Character, translated by Elizabeth Reynolds Hapgood (London: Methuen 2000), p. 292

10Creating a Role, p. 237 (original emphasis)

11An Actor Prepares, p. 16

12Konstantin Stanislavsky, On the Art of the Stage, translated by David Magarshack (London: Faber and Faber 1973), p. 118

13Building a Character, p. 276

14Ibid., p. 265

15Ibid., p. 250

16Ibid., p. 258

17Ibid., p. 25’

18Stanislavski’s Legacy, p. 149

19On the Art of the Stage, p. 98

20Ibid., p. 168 (my emphasis)

21Ibid., p. 169

22David Magarshack, Stanislavsky: A Life (London: Faber and Faber 1986), p. 304

23An Actor Prepares, p. 75

24Ibid., p. 72

25True and False, p. 94

26Ibid., p. 95 (my emphasis)

27Ibid., p. 96 (my emphasis)

28On the Art of the Stage, p. 166

29Constantin Stanislavski, An Actor’s Handbook, edited and translated by Elizabeth Reynolds Hapgood (London: Routledge 2004), p. 134

30William Shakespeare, Richard III, Act I, Scene ii

31On the Art of the Stage, p. 178

32Ibid., p. 122

33Stanislavsky: A Life, p. 281

34An Actor’s Handbook, p. 149 (my emphasis)

35An Actor Prepares, p. 280

36An Actor’s Handbook, p. 85

37Ibid., p. 85

38An Actor Prepares, p. 37

39Ibid., p. 118

40Ibid., p. 287

41Ibid., p. 304

42Stanislavsky, cited by Alexei Popov in ‘Reminiscences and Reflections about the Theatre’, Stanislavski Today: Commentaries on K.S. Stanislavski, compiled and edited by Sonia Moore (New York: American Center for Stanislavski Theater Art 1973) p. 86 (my emphasis)

43Ibid., p 89

44An Actor’s Handbook, p. 44

45Stanislavsky, cited by Popov, ‘Reminiscences’, p. 86 (my emphasis)

46Stanislavsky, cited in On the Active Analysis of Plays and Roles, Maria Knebel, in unpublished translation by Mike Pushkin, 2003, p. 97

47Ibid., pp. 99–100

48An Actor’s Handbook, pp. 64, 65

49Creating a Role, p. 4

50Ibid., p. 5

51Ibid., p. 7

52Konstantin Stanislavsky, Selected Works, compiled by Oksana Korneva, this chapter (‘Report on Ten Years of the Moscow Art Theatre’s Activity’) translated by Olga Shartze (Moscow: Raduga 1984), p. 126 (my emphasis)

53Stanislavsky, cited in Sonia Moore, The Stanislavski System (USA: Penguin USA 1984), p. 13

54On the Art of the Stage, p. 128

55On the Active Analysis of Plays and Roles, p. 8

56Stanislavsky, cited in On the Active Analysis of Plays and Roles, p. 2

57Creating a Role, p. 8 (original emphasis)

58Ibid., p. 11

59Anton Chekhov, Three Sisters in Chekhov, Four Plays, translated by Stephen Mulrine (London: Nick Hern Books 2005), p. 179

60Bertolt Brecht, Mother Courage and Her Children, translated by John Willett (London, Methuen 1980), p. 21

61This list is drawn from An Actor Prepares, p. 51

62Ibid., p. 149

63Stanislavsky, cited in On the Active Analysis of Plays and Roles, p. 15

64Anton Chekhov, The Seagull in Chekhov: Four Plays, translated by Stephen Mulrine (London: Nick Hern Books 2005), p. 4

65An Actor Prepares, p. 115

66Stanislavski’s Legacy, p. 156 (original emphasis)

67An Actor Prepares, pp. 116–7

68Ibid., pp. 121, 122

69Ibid., p. 122 (my emphasis)

70Ibid., p. 123 (original emphasis)

71Ibid., p. 126

72Helen Edmundson, Anna Karenina (London: Nick Hern Book 1996), pp. 48–9

73An Actor Prepares, p. 310 (original emphasis)

74Building a Character, p. 113

75Stanislavsky, cited in On the Active Analysis of Plays and Roles, p. 95

76Building a Character, p. 121

77Creating a Role, p. 160 (my emphasis)

78Three Sisters, pp. 205–6

79On the Active Analysis of Plays and Roles, p. 88

80Ibid., p. 83–4

81C. P. Taylor, Good, Act 2, Good & And a Nightingale Sang . . . (London: Methuen 1990), p. 43

82An Actor Prepares, p. 68

83Max Stafford-Clark, Letters to George: The Account of a Rehearsal (London: Nick Hern Books 1997)

84I detail my experience of working with Stafford-Clark on ‘actioning’ with The Permanent Way in an essay entitled ‘The Permanent Way and the Impermanent Muse’ in a special edition of Contemporary Theatre Review, entitled ‘On Acting’, Phillip B. Zarrilli and Bella Merlin (guest editors), Volume 17, No. 1 (January 2007), pp. 41–9

85An Actor Prepares, p. 242, Logic and Coherence (See Preface)

86Ibid., p. 156

87Ibid., p. 128

88Ibid.

89Ibid., p. 158

90Stanislavsky’s Legacy, pp. 152–3 (original emphasis)

91An Actor Prepares, p. 130

92Ibid., p. 130

93Jean Benedetti, Stanislavski: An Introduction (London: Methuen 1989), p. 43

94An Actor Prepares, p. 149

95Ibid., p. 54

96S. D. Balukhaty (ed), The Seagull, Produced by Stanislavsky, translated by David Magarshack (London: Dobson 1952)

97Building a Character, p. 126

98An Actor Prepares, p. 57

99Creating a Role, p. 40

100Stanislavski’s Legacy, p. 151

101An Actor’s Handbook, p. 76 (original emphasis)

102Ibid., p. 78

103An Actor Prepares, p. 49

104On the Art of the Stage, p. 131

105Stanislavsky, cited by Vasily Toporkov in Stanislavski in Rehearsal: The Final Years, translated by Christine Edwards (New York: Theatre Arts Books 1979), p. 215 (original emphasis)

106Creating a Role, pp. 48, 49–50

107An Actor Prepares, p. 149 (my emphasis)

108Ibid., p. 141

109An Actor’s Handbook, pp. 140–41

110Cited by Benedetti in Stanislavski: A Biography, p. 179 (my emphasis)

111My Life in Art, pp. 561–62

112Norris Houghton, Moscow Rehearsals (USA: Octagon Books 1975), p. 61

113Stanislavski in Rehearsal, p. 62 (original emphasis)

114Building a Character, p. 216

115Stanislavski in Rehearsal, p. 170

116An Actor Prepares, p. 189 (original emphasis)

117Stanislavsky Directs, pp. 292–3

118An Actor Prepares, p. 174 (original emphasis)

119Cited by Christine Edwards in The Stanislavsky Heritage (London: Peter Owen 1966), p. 270

120Stanislavski’s Legacy, p. 151

121Stanislavsky Directs, pp. 96–7

122Ibid., p. 157

123Interview with Miles Anderson, June 2006

124My Life in Art, p. 194

125An Actor’s Handbook, p. 54

126Stanislavsky Directs, p. 157

127An Actor Prepares, p. 69

128Ibid., p. 247 (original emphasis)

129On the Art of the Stage, p. 195

130Creating a Role, p. 69

131My Life in Art, p. 183

132Stanislavsky, cited in Stanislavski in Rehearsal, p. 205

133An Actor Prepares, p. 76

134Ibid., p. 89

135On the Art of the Stage, p. 146

136An Actor Prepares, p. 282 (original emphasis)

137Antony Sher, Primo Time (London: Nick Hern Books, 2005)

138An Actor Prepares, p. 293 (my emphasis)

139My Life in Art, pp. 199, 308

140Stanislavsky, cited in Stanislavsky Directs, p. 192

141Stanislavski in Rehearsal, p. 152

142On the Art of the Stage, p. 201 (my emphasis)

143Stanislavsky, cited in Stanislavsky: A Life, pp. 390, 389

144My Life in Art, p. 405–6

145An Actor Prepares, p. 142

146Sharon M. Carnicke, ‘Stanislavsky’s System’ in Twentieth Century Actor Training, Alison Hodge (ed.), Chapter 1 (London: Routledge 2000), pp. 26–7

147Creating a Role, p. 262

148Stanislavsky, cited in Stanislavsky Directs, p. 120

149Creating a Role, p. 95

150Ibid., p. 95

151Ibid., p. 141

152Ibid., p. 207

153Ibid., p. 208

154Stanislavsky, cited in Stanislavski in Rehearsal, p. 170

155Stanislavsky, cited in Stanislavski: A Biography, pp. 312–13

156On the Active Analysis of Plays and Roles, p. 101

157Stanislavsky, cited in On the Active Analysis of Plays and Roles, p. 20

158Ibid., p. 20

159Mark Ravenhill, Shopping and Fucking in The Methuen Book of Modern Drama (London: Methuen 2001), Scene 3, p. 286

160Stanislavsky, cited in On the Active Analysis of Plays and Roles, p. 21

161Anton Chekhov, The Cherry Orchard, translated by Stephen Mulrine (London: Nick Hern Books 2005), pp. 274–5

162Stanislavsky, cited in Stanislavsky Directs, p. 316

163An Actor Prepares, p. 217

164Creating a Role, p. 29

165Ibid., p. 106

166An Actor Prepares, p. 218

167Ibid., p. 273

168Ibid., pp. 93–4

169Ibid., p. 205 (original emphasis)

170Ibid., pp. 201–2

171Ibid., pp. 202–3

172Ibid., p. 214

173On the Active Analysis of Plays and Roles, p. 9

174Stanislavsky, cited in Stanislavsky Directs, p. 94

175An Actor Prepares, p. 294

176Ibid., p. 225

177Ibid., p. 224

178Stanislavsky, cited in On the Active Analysis of Plays and Roles, p. 25

179Stanislavski in Rehearsal, p. 90

180An Actor Prepares, p. 307

181Interview with David Hare, March 2004

182On the Active Analysis of Plays and Roles, p. 27

183An Actor Prepares, p. 303

184Stanislavsky, cited in On the Active Analysis of Plays and Roles, pp. 25–6 (my emphasis)

185An Actor’s Handbook, p. 138

186Creating a Role, pp. 78–9 (my emphasis)

187Ibid., p. 78

188Stanislavsky, cited in On the Active Analysis of Plays and Roles, p. 27

189On the Active Analysis of Plays and Roles, p. 29

190Ibid., pp. 76–7

191Ibid., p. 93

192Stanislavsky, cited in On the Active Analysis of Plays and Roles, p. 93

193Building a Character, p. 138

194Ibid., p. 138

195Vladimir Nemirovich-Danchenko, My Life in the Russian Theatre, translated by John Cournos (Boston: Little, Brown & Co, 1936), p. 162

196On the Active Analysis of Plays and Roles, p. 55

197Ibid., p. 56

198Nemirovich-Danchenko, cited in On the Active Analysis of Plays and Roles, pp. 56–7

199Ibid., p. 59

200On the Active Analysis of Plays and Roles, p. 62

201Stanislavsky, cited in Stanislavsky Directs, p. 266

202Building a Character, p. 123

203On the Active Analysis of Plays and Roles, p. 65 (my emphasis)

204Ibid., p. 65

205Stanislavsky, cited in On the Active Analysis of Plays and Roles, p. 66

206Stanislavsky, cited in Stanislavski in Rehearsal, p. 123

207Ibid., p. 124

208Konstantin Stanislavsky: Selected Works, p. 119

209Ibid., p. 172 (original emphasis)

210On the Art of the Stage, p. 21

211Stanislavsky, cited in Stanislavsky: A Life, p. 372

212Alexei Popov in ‘Reminiscences and Reflections about Theatre’, p. 90

213An Actor Prepares, p. 203

214Stanislavsky, cited in Stanislavski: A Biography, p. 32

215Building a Character, p. 21

216Ibid., pp. 179, 180–1

217An Actor Prepares, p. 312

218On the Art of the Stage, p. 16

219An Actor’s Handbook, p. 94 (original emphasis)

220On the Art of the Stage, p. 230

221Stanislavski’s Legacy, p. 156

222Interview with Max Stafford-Clark, March 2004

223Stanislavsky, cited in On the Active Analysis of Plays and Roles, pp 80–7

224William Wycherley, The Country Wife (London: Nick Hern Books Drama Classics 2001), pp. 108–9

225Harold Pinter, Plays: Two including The Lover (London: Methuen 1981), pp. 176–8

226Shopping and Fucking, p. 236

227David Mamet, Plays: 1 including American Buffalo (London: Methuen 1994), pp. 162–3

228Ibid., p. 148

229Marina Caldarone and Maggie Lloyd-Williams, Actions: An Actor’s Thesaurus (London: Nick Hern Books 2004)

230Anna Karenina, pp. 48–9

231Building a Character, pp. 200–2

232Bella Merlin, Konstantin Stanislavsky, Routledge Performance Practitioners (London: Routledge 2003), p. 151

233Bella Merlin, Beyond Stanislavsky: The Psycho-Physical Approach to Actor-Training (London: Nick Hern Books 2001), p. 60

234Konstantin Stanislavsky, p. 141

235Kamotskaya trained as an actress as the Shchukin Institute, before working extensively in Russia. She spent time at Grotowski’s Teatr Laboratorium, taught at the State Institute of Cinematography in Moscow, following which she took up a teaching post at the Royal Scottish Academy of Music and Drama in Glasgow in 1999. Full details of her work can be found in my account of the Russian training, Beyond Stanislavsky.

236The Seagull, pp. 36–7

237Konstantin Stanislavsky, pp. 105–6 (original emphasis)

238Arthur Miller, The Crucible, Act 1 (London: Penguin 1962), pp. 27, 28

239David Hare, The Permanent Way (London: Faber 2003), pp. 27, 28–9