POA ABS TRCN TE STANISLAVSK |ED AND TRANSLATED BY ELIZABETH REYNOLDS HAPGOODAres» haan cy ing for i pps ‘he uonemisson oot of the highest and tase flings whic men ave ten: [ ie Stanislavskis Legacy ‘A Collection of Comments on a Variety of Aspects of an Actor's Art and Life b CONSTANTIN STANISLAVSKI EDITED AND TRANSLATED BY ELIZABETH REYNOLDS HAPGOOD© 1958 Elizabeth Reynolds Hapgood Copyright © 1968 by Elizabeth Reynolds Hapgood “Why Play Melodcam” was Sse publihél in Those Arts magazine, (COPYRIGHT 1950 by These Ata is repeal wit its prison The Ast of the Actor and dhe Aue of the Dire” was wren fr the Bacjlopudia Brtannia,whete ic appestd, in anaes talon and slg liferent fr, ween 1929 abd 1956 The ext a cis pb jn this book is mandated dey from te Rusia version found Ia Sanisvilis pepe. Library of Congress Cralog Card Number 6816450 Publihed by ‘THEATRE ARTS BOOKS 435 Sith Avenus, New York NV. roy Foreword to the Second Edition As time goes on more and more pices written by Stanislav, including letters, notes, comments of various kinds, come to light and being published ade co the rich bequest already enjoyed by all who are intereae! in or capable of profiting by his life's work ‘Thus this is not merely an afteglow which lingers briefly in a sunset ky. Indeed, since Stanislacel’s Legacy wae feet published in 1958, ctensibly to commemorate the twentieth anniversary of his deat, the thied volume of Stanislav’ main work came to light i thee drafts, which were edited and pat together with the help of Hermine Isaacs Poppet as Creating « Role (106). Later, from books already published in English and many other sources, Twas able co glean his own pithy statements of his principal ideas and arrange them alphabetically to form a kind of dictionary of at ing and the theatre. This we called An Actor's Handbook (1953) Now that aa increasing demand for Stoniclaak’s Legacy has shown that it wanseend ite special occasion, Stanislavs’s pab- lishers have urged me to search through the residue of bis weitings that have since been made available to find statements tha il ut what we published in 1958 and add new dimensions, With Mrs Poppers help again, we have added to Pare Three and created a ew section which we have subsite, fom a phrase in a leer Stanslaveki wrote to Max Reinhard, “Memories ofthe Past Dreams of the Future” Although some of there new materials ate from his last ative years all are an integral part ofan overall pattern of Seanislavsks purposes and accomplishments in the theate and jo ie, Stanslaveki stands apar from many great artists in the pro-fession of 2 ital ing becawi, together with his personal talent—in considerable and alo a brilliant demonstration of his point of view of what acting could and shoald be—he combined a rare qulity of slflicipline. With his quick and deep sen tiveness he was as “emperamental”—ip all its senses—as any actor eve is, ety preserving his immense self