ABSTRACT

A quick search of acting texts on Amazon UK returns 8000 results. This is a staggering number of books about acting. Certainly, there are duplications, and a quick scroll shows that not all of them are how-to books. But even if these amounted to 90% of the total, that’s still 800 acting texts. Many of them will be by teachers espousing their own special technique that they have developed over years of performance experience and teaching. This presents some questions: just how “original” are these techniques? How many of them merely re-name the ideas of Konstantin Stanislavski without crediting him? How many even know that their ideas originated from him? As we consider the legacy of Stanislavski in the public mind and his contributions, it is worth exploring where he hides. In this second part, the author will continue the examination of these issues and ideas asking the question: is it possible that Stanislavski’s ubiquity is such that he has become hidden and that people are no longer aware of what is his?

摘要

在 Amazon UK 上快速搜索代理文本会返回 8000 个结果。这是关于表演的书籍数量惊人。当然，存在重复，快速滚动显示并非所有这些都是操作指南。但即使这些占总数的 90%，那仍然是 800 篇代理文本。他们中的许多人将由教师拥护他们自己的特殊技巧，这些技巧是他们在多年的表演经验和教学中发展起来的。这提出了一些问题：这些技术到底有多“原创”？他们中有多少人只是重命名了康斯坦丁斯坦尼斯拉夫斯基的想法而没有归功于他？有多少人甚至知道他们的想法来自他？当我们考虑斯坦尼斯拉夫斯基在公众心目中的遗产和他的贡献时，值得探索他的藏身之处。在这第二部分中，