Acting the Truth: The Acting Principles of Constantin Stanislavski and Exercises
A Handbook for Actors, Directors, and Instructors of Theatre
by
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Foreword
This compilation of major works by Constantin Stanislavski comprises the most valued of all acting principles. They may be used by teachers of theatre students, stage directors, and by actors of any age or experience. Each titled acting principle is accompanied by ten to twenty or more exercises to aid in illustrating the working process of each principle. An additional one hundred exercises are included in part three of the handbook. The instructor or director need only select those exercises most compatible with the instruction process being employed in the classroom, rehearsal studio or stage production.
Sufficient material exists in the handbook to nurture an instructional program of theatre for a school quarter, semester, full year or even a four year curriculum. It may also serve the director of any stage play during all or part of the rehearsal period. Youth programs, too, will find the exercises functional in various ways as will adult programmers who may find the exercises to be enthralling learning experiences or useful as entertainment for brief or extended periods, even for invited audiences.
The effective employment of any Stanislavski principle has, I have observed, induced several other principles to function as well. This fact has instilled confidence in the actor, or instructor, assuring a higher level of performance in any given instance.
The acting principles of Constantin Stanislavski and these exercises for the theatre have served me well for many years as actor, director, instructor of students and acting professionals in various schools, colleges, and theatres in America and Europe. For all these years I have experimented, explored, tested and verified these valued acting principles. The time has come for me to share these ideas with my colleagues and those acting students I have not had the pleasure of meeting in my classrooms, studios or rehearsals.
Exercises in part four used by Stanislavski in his rehearsals.
Albert Pia
Connecticut - 1994
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About the Book
Part one defines the actor’s inner life as he builds a character, living the role as if the given circumstance is happening to him. The exercises, games, and improvisations employ Stanislavski acting principles, allowing the actor to gain comfort and confidence in playing any role.
Part two is devoted to physical aspects of acting a role, including movement, speech, costuming the character, script dissection, and tempo/rhythm, to enhance natural behavior. Many exercises will aid actors to employ all acting principles.
Parts three and four contain theatre exercises suitable for acting students of all ages. The selected activities used by Stanislavski in his renowned Moscow Art Theatre are most appealing for advanced performing artists.
Part five is a teaching syllabus to guide instructors in any school or college theatre program. Adjustments of the assignments are defined so as to guide teachers to employ the contents for any two, three or four year program.
Part six illustrates dissected working play scripts. The director or actor will gain exciting new levels of creative artistry by employing this valued Stanislavski system. Contrasting tempo/rhythm and life energy of each beat was essential, for he believed the play script was similar to a masterful symphonic score with varied energy, color and dimension as it builds to the climax and conclusion.
About the Author
Al Pia’s involvement in theatre began as a youth in school stage plays as actor, director and stage technician, and through high school and college years. He earned his B.A. Degree and Masters Degree at the University of New Hampshire. Doctoral study at Harvard University was interrupted by recall to active military duty during the Korean War. When he later continued his doctoral study at Columbia University, it was interrupted by employment assignment to Europe.
He formed the Lancaster Community Theatre in New Hampshire, transferred to Connecticut and founded the Stamford Community Theatre. His administrative jobs then took him abroad. He worked in India and Turkey managing International Trade Fairs for the United States Commerce Department and in Munich, Germany with Radio Liberty, an international broadcasting firm for the U.S. Department of State. While in Germany, he acted in a film under famed director Gottfried Reinhardt with Sir Alec Guiness and Robert Redford. He and actress wife Betty formed The American Theatre Of Munich. They staged only great American classic plays in English, such as “Our Town,” “A View From The Bridge” and others. They attracted highly talented actors from various countries. The Voice of America, impressed with their mission and success, aired some of their works internationally. They supplied actors for film companies on location in Germany and for film voice dubbing for famed Aventin Film Studio of Munich, several of which were directed by Al.
Upon returning to Connecticut, Al accepted the theater department position at the high school in Westport. At the same time, he founded a theater program for the City of Stamford and became the artistic director of The Sterling Barn Theater. He held the position for over twenty-five years. Their success earned accolades from the Stamford Advocate Arts Director, who stated: “The Sterling Barn Theater is the best little theater around.” He ultimately departed to accept an appealing position as adjunct professor of theater at a regional university to teach and direct.
In his first year at the high school in Westport, Al directed a production of “Soldier, Soldier!” It was his full-length adaptation of the anti-war one-act play, “Bury The Dead.” It won both Connecticut State Drama Association Award and New England Theater Conference Moss Hart Memorial Award. He was then asked by the Dramatic Publishing Company to premiere new plays. Al directed their play, “Black Elk Speaks,” at the high school. That very significant and powerful play won the New England Theater Conference Moss Hart Memorial Award, as did “Cabaret,” “The Sound of Music,” “West Side Story,” and other major stage productions.
Upon retirement, a newly constructed studio was dedicated to his honor and titled Albert Pia Studio Theater in recognition of nearly thirty years of achievement in theatre arts at the Staples High School
Several full-length plays have been written and directed by Al at the Sterling Barn Theater. His drama, “Drop Zone,” based upon his military career as a combat pilot in World War II, also won the New England Theater Conference Moss Hart Memorial Award.
The Town of Westport in 1996 and the City of Stamford in 1997 have honored Al for achievement in theater and cultural contribution to their communities. He was selected for admission to Who’s Who Among America’s Teachers Fifth Edition 1998 and Ninth Edition 2004-2005. Recently, he was honored by National Register’s Who’s Who in Executives and Professionals for appearance in the 2005-2006 Edition “for reaching a level of recognizable success in the field of theatre.” In 1999 he received the Connecticut Critics Circle Award for Lifetime Achievement. The Westport Historical Society honored Al in 1998 for “Recognizing his gifted excellence in educating and preparing young actors for the professional theatre.”
A novel was recently completed by Al entitled, “On Stage! The Communal Magic of Theatre.” It is geared toward the organization and operation of community theaters, their cultural value and unifying influence in world communities.