ABSTRACT This article presents the acting method that the important Greek actor Dimitris Kataleifos uses when approaching a role by presenting and analysing his work process as it is presented in the theatrical notebooks that he keeps. These notebooks concentrate the way that he analyses, synthesizes and approaches each character. They comprise notes on the role’s history, his background, his habits and so on. They follow Stanislavski’s key concepts, such as, “who”, “why”, “what”, “for what reason”, and notions, such as, “fantasy” and “imagination”. The notebooks will be reviewed in relation to the five David Mamet plays in which Kataleifos has appeared, namely, American Buffalo (1992), The Cryptogram (1996), A Life in the Theatre (1999), Glengarry Glen Ross (2001) and Oleanna (2013).

中文翻译：

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部分注释。斯坦尼斯拉夫斯基在迪米特里斯·卡塔莱福斯 (Dimitris Kataleifos) 的戏剧笔记本上对大卫·马梅 (David Mamet) 戏剧的影响

摘要 本文介绍了重要的希腊演员迪米特里斯·卡塔莱福斯 (Dimitris Kataleifos) 在接近角色时使用的表演方法，通过展示和分析他保留的戏剧笔记本中呈现的工作过程。这些笔记本集中了他分析、综合和处理每个角色的方式。它们包括关于角色历史、他的背景、他的习惯等的注释。他们遵循斯坦尼斯拉夫斯基的关键概念，例如“谁”、“为什么”、“什么”、“出于什么原因”，以及诸如“幻想”和“想象”等概念。这些笔记本将与 Kataleifos 出现的五部大卫·马梅特戏剧有关，即美国布法罗 (1992)、密码学 (1996)、剧院生活 (1999)、格伦加里·格伦·罗斯 (2001) 和奥莉安娜(2013)。