Acting: First Six Lessons

by Richard Boleslavsky

This classic work on acting is one of the very few that stands beside Stanislavsky as a must-have for all acting students and professionals. Richard Boleslavsky's Acting: The First Six Lessons is a treasure-box of wise observation about the art of acting, all wrapped up in six charming dialogues between a teacher and a student. Generations of actors have been enriched by Boleslavsky's witty and acute picture of the actor's craft. These six "lessons" — miniature dramas about concentration, memory of emotion, dramatic action, characterization, observation, and rhythm — distill the challenge facing every actor. For this reissue the text has been entirely reset and the book jacketed in a contemporary design. An essential work on the short shelf of any acting student.

Genres: Theatre, Nonfiction, Film, Art, Plays, Drama, Academic

122 pages, Hardcover

First published January 1, 1933

Reviews

[Orsodimondo · Rating 4 out of 5]

INTERPRETARE


Beau Bridges (a sinistra), fratello maggiore del più celebre Jeff, e sua figlia Emily: insieme hanno portato sul palcoscenico il testo di Bolesławski.

Richard Boleslavsky è stato uno dei tanti europei emigrati in US che fecero grande il cinema di quella terra che seppe riceverli e accoglierli.

Polacco, nella Grande Guerra combattè nella cavalleria zarista fino al momento della rivoluzione bolscevica.
Curiosità: perfino in Polonia il suo nome di nascita, Bolesław Ryszard Srzednicki, risultava troppo difficile da pronunciare – e così optò per semplificarlo in Ryszard Bolesławski. Che poi divenne Richard una volta approdato nel paese a stelle-e-strisce.


Un altro momento dello spettacolo, che ha conservato lo stesso titolo del libro di Boleslavsky.

Iniziò la carriera artistica come attore, portando a casa anche un ruolo in un film muto del grande regista danese Carl Theodore Dreyer, per poi dedicarsi soprattutto alla regia.
A New York dal 1922 iniziò a insegnare recitazione secondo il metodo Stanislavski. Tra i suoi allievi ci furono Lee Strasberg e Stella Adler, i fondatori del mitico Actor Studio.
Approdato a Hollywood riprese l’attività di regista firmando una ventina di film interessanti che avevano nel cast le star dell’epoca: Greta Garbo, Marlene Dietrich, Clark Gable, Charles Boyer, Charles Laughton, Frederic March, Joanne Crawford, William Powell, i fratelle Barrymore, Irene Dunne.
Curiosità: riusciva a realizzare anche quattro o cinque pellicole all’anno, come nel biennio 1934-35. Se si pensa al ritmo di realizzazione di un film negli ultimi decenni (anni per ciascun progetto), è difficile crederlo. Ma quello era il sistema degli studios…
Morì a soli 48 anni.
Nel Walk of Fame di Los Angeles c’è la stella col suo nome.



Questo testo, agile e snello, uscì nel 1933. E si presenta sotto forma di un dialogo tra un insegnante di recitazione, con anni d’esperienza alle spalle, e una giovane studentessa di recitazione che muove i primi passi, si arguisce più dotata d’entusiasmo che di talento.
Al punto che l’insegnante la provoca proprio su questo registro, per farla arrabbiare, per farla reagire: per farle provare un’emozione. E poi attingere allo scrigno delle sue emozioni, indispensabili per poterle riprodurre interpretando un personaggio che solo casualmente può coincidere con noi e quello che siamo.

È chiaramente un testo per gli addetti ai lavori che io ho trovato di interessante e piacevole lettura. A suo modo, col tempo, è assurto alla status di classico del ramo.


Richard Boleslavsky

[Kenny · Rating 5 out of 5]

Acting is the life of the human soul receiving its birth through art. In a creative theatre the object for an actor's concetration is the human soul. In the first period of his work- the searching - the object for concentration is his own soul and those of the men and women who surround him. In the second period - the constructive one - only his own soul. Which means that, to act, you must know how to concentrate on something materially imperceptible,- on something which you can perceive only by penetrating deeply into your own entity, recognizing what would be evidenced in life only in a moment of the greatest emotion and most violent struggle. In other words you need a spiritual concentration on emotions which do not exist, but are invented or imagined.
Acting: The First Six Lessons ~~ Richard Boleslavsky



Acting: The First Six Lessons, first published in 1933, remains a key text for anyone studying acting or directing today. It is also the text that first introduced the Stanislavski System to America. The importance of Boleslavsky’s text on acting in America cannot be overstated.

Acting: The First Six Lessons is also the book that influenced Lee Strasberg as he developed The Method.

Konstantin Stanislavski would eventually abandon the principals discussed in this book in favor of The Method of Physical Actions as his teaching evolved, but there is no denying these are powerful techniques and a must for all actors to learn.



Boleslavsky ~~ the Polish-born director (1889-1937) ~~ was at the helm of several well-known Hollywood movies; prior to that he toured with the Moscow Arts Theatre, and brought the teachings of Konstantin Stanislavski to America. In New York, Boleslavsky taught future acting luminaries and Group Theatre members Lee Strasberg, Stella Adler, Harold Clurman & John Garfield. Today he is best known for the 1932 film Rasputin and the Empress.

But as distinctive a stamp as he has put on film and the stage in America, Boleslavsky has not always received his due in the United States, Russia and his native Poland.



In Acting: The First Six Lessons, Boleslavsky presents his acting theory and technique. The six lessons are Concentration, Memory of Emotion, Dramatic Action, Characterization, Observation, & Rhythm. Each lesson is taught to the actress at different stages of her career. The dialogue between I & the Creature make these lessons a pleasure to read and are presented in a different manner each time. Examples of the different manner include the lesson on Dramatic Action being taught while the two characters take a walk through a park and analyze the action of their stroll, while the lesson on Observation takes place at the studio over a cup of tea.

Richard Boleslavsky's knowledge of the theater was based on an impressive depth and breadth of experience. A member of the Moscow Art Theater and director of its First Studio, he worked in Russia, Germany, and America as an actor, director and teacher.



For the actor, Acting: The First Six Lessons is a concise, basic guide to Stanislavki’s System through one of his most talented students. For the director, it provides unique examples of Boleslavky’s thought process when working with actors. For avid fans of the theater, it’s a short, easy read that gives insight into an actor’s process of preparing for a role.

[Huda Aweys · Rating 2 out of 5]

It was a nice book! :) And smooth .. I think I really benefited from the book as an actress ... sometime .. mmmmmm .. I think that this book made ​​me realize a lot about the art of acting ...
استفدت من الكتاب دا كممثة في مرحلة ما .. :)
هوه في العموم كتاب شائق وسلس قراءته كانت ممتعه فعلا :)

[Paprika Stiletto · Rating 5 out of 5]

I absolutely adored it. It is written beautifully, clearly stating each lesson in dialogue form. It is of great help for actors, directors and public alike, and shows the philosophical view of Boleslavsky's life in the theatre. For me, as an actress, it allowed me to further understand my relationship with the stage, and reshape the way I work. They are certainly one of the most straight-forward and valuable lessons on acting I have ever had. I hoped, however, for a longer text... I didn't want to finish it! Boleslavsky is a master of words, and so it shows in these pages. No unnecessary or empty words. Totally recommend it, especially if you are related to the lovely practice of Performing/Dramatic Arts.

[Allegra · Rating 5 out of 5]

I had a smile on my face all the way through. Everything about it is so beautiful and real. My teacher gave it to us as a textbook but to me it is a story. I don't know how great of a read it would be for someone who has no interest in theater, but I'm sure that everyone can identify with something in this book. It gave me a new view of life.

[Simon · Rating 4 out of 5]

The world of actors! I am always amazed after reading any book on acting how it's so much more than a profession. With all the training and awareness required in order to pretend to be another human being, it's more of a lifestyle. Boleslavsky's chapter on Observation is more reminiscent of meditating and truly taking in all the fragments of life than preparing for a working experience.

It is in these moments that I think the practice of learning how to act really are the practice of learning how to live. When I was 20 I made the decision to follow filmmaking instead of acting, and while I don't regret that choice, I am always aware of the true benefits that actors have in learning life lessons. From learning how to really study people to studying themselves, there is a honesty and depth to that profession which astounds me.

Boleslavsky's book is written as dialogues in a play. Making what could be a very esoteric exercise into something engrossing and personal. It is vulnerable and honest and entertaining, the very things you'd want from the best acting performances.

[Renee G. · Rating 5 out of 5]

No Wonder It’s a classic

An engaging conversational tone keeps this book lively. Hidden within the banter is a good deal of information on the fundamentals of acting. The exercises in the back come from another book and complement perfectly.

[Jane Cleland · Rating 5 out of 5]

One of my mentees at Western CT State University’s MFA program in Creative and Professional Writing suggested I read this book—thank you, Shea! While the acting lessons focused on characterization were insightful, what I found most compelling was the Socratic process. Experiential learning wins the day!

[Victoria · Rating 5 out of 5]

"The object for an actor's concentration is the human soul."

It was an intentionally slow read because there is SO much to be absorbed in this text. I was really intrigued by the writing style being that of a play-narrative. I found myself completely identifying with "The Creature"-- eager, frustrated, passionate, and awestruck by the craft of acting. Like her, I too can be overwhelmed by all that there is to learn, and yet, hungry for every lesson I can gobble up. The relationship between "The Creature" and "I" is one of teacher-student, turned friend-collaborator.

And my goodness, the content. The language is enough to make you need to re-read for comprehension, but underneath that, there is a richness to the material that I most definitely need to re-read to glean more. I found myself highlighting and filling out post-its. The narrative form also makes these golden nuggets accessible and lively, as if you are part of the conversation learning from the teacher.

Finally, the exercises in the "Enhanced Edition", are something I am going to be putting to very good use. I feel as though I have been handed a secret treasure chest of acting gold. As an actor and an artist, I am so thankful for this text.

[Sarah · Rating 1 out of 5]

I started and finished this book tonight - who knows? Maybe I'll come back to it someday? But probably not.

This guy (Boleslavsky) talks with the same, all-knowing masterful wisdom of Sun Tzu, only I've never fucking heard of him. He opens up with a condescending conversation he had with an 18-year-old girl, who he only refers to as "the Beautiful Creature" (seriously, throughout the whole chapter) and he keeps giving her mysterious acting riddles, knowing there isn't an answer. I.e., on page 10 and 11 (Yes! This early on!) he asks her, "What is acting" She answers. Clearly she's wrong because his answer is literally, "Acting is the life of the human soul receiving its birth through art." WTF?! I wish he was writing fortune cookies and kung fu movies instead of acting books.

If this guy was my teacher, I'd tell him to talk plainly to me and stop auditioning for a part that's not available to him.

Like the expression, "No smoke without fire," this book inspired me to coin the phrase, "If you smell bullshit, that means there's a bull nearby."

[Seymour Glass · Rating 5 out of 5]

I love how advice about the creation of art often doubles up as good general life advice. 'Concentrate', ''observe what is around you and act accordingly', 'persist'. You can apply these words to learning to paint, write songs, act, or get through your day to day life.

I'm so glad I discovered this little gem of a book, written like a play and split into six 'lessons' on the art of acting. It manages to be charming, light and witty whilst also being practical, straight-forward and loaded with examples and advice. I predict that I'll be coming back to this book frequently for reminders and calm guidance when I'm befuddled by a text or character.

"This is the secret of existence, perseverance and activity. This is what the world really is - from the stone up to the human soul. The theatre and the actor enter this picture only as a part. But the actor cannot portray the whole if he does not become a part."

[Andrew Pish · Rating 4 out of 5]

Good bock with very far-reaching acting technique concepts. It definitely extends the scope of the craft of an acting technique.

[Dave Wagner · Rating 4 out of 5]

If you're an actor, it's worth wading through the awkward presentation of this book to mine out the nuggets of wisdom in here. There actually are some useful pieces in here.

[Giovana Mansano · Rating 4 out of 5]

caralho bolelassjdkkssky chato pra caralho que enrolacao pra explicar uns termos e tecnicas simples! stanslavski mt mais simpático
mas um livro bom! recomendo pra quem tem curiosidade de estudar atuação!
terminei ele no carro indo pra prova do teatro risos 🤪

[Kat · Rating 3 out of 5]

I was assigned this text in my introductory Drama 100 class. This book sells itself as a manual on acting, but more than that, it's a work of fiction; even more than that, it's a manual on life.

Acting is set up in the format of a play; dialogue, stage directions and all. It has two engaging characters: the Creature and Boleslavsky himself. The bits of advice he gives to the Creature are essentially the "lessons" of the book. This is a fast read, but to remember what the lessons are, I would recommend bookmarking lines that stand out as helpful. Given that, there are lots of quotable lines.

I enjoyed the book as a pleasure read, but as a definitive guide on acting? Not necessarily. The advice, while great, seems vague when not supplemented with practical steps on how to carry it out. Only in one lesson do I recall Boleslavsky giving the reader something definitive to do: In the lesson on observation, the Creature tells her aunt that, for one hour, she strives to be highly observant, and for another hour, she reflects on her observations. But even then, we are not told exactly how to be observant in the best way. It might be common sense, but for something as abstract as acting, I think it should be acknowledged. The book, overall, seemed as abstract as the subject itself.

Upon reading the Fifth and Sixth Lessons, I realized that this book would have done well to be advertised as a manual on life. Rhythm, Boleslavsky states, is nothing more than existence. If only he had divulged on how someone would apply this to acting.

Though the lessons are timeless, it is presented in a dated manner. I read a comparison somewhere that is like the actor's Bible, and I wholly agree: the text offers so much, but the presentation of it is unrelatable. The book is still worth reading, because it's like the original guide on acting. Just supplement this with a more practical manual, or have someone experienced explain how to implement your understanding into action.

[Akhil Jain · Rating 3 out of 5]

My fav quotes (not a review):
• "Stanislavsky’s fine contribution is welded into the text of his autobiography, My Life in Art,"
• "Every play is written for one or at most a few “high tension” moments. The audience pays the price of the tickets not for two whole hours—but for the best ten seconds, the ten seconds when it gets the biggest laugh or thrill."
• "“The object of Education is not to know but to live.”"
• "First, the main trunk, the idea, the reason. On the stage it comes from the director. Second, the branches, elements of the idea, particles of reason. That comes from the actor. Third, the foliage, the result of the previous two, the brilliant presentation of idea, the bright conclusion of reasoning."
• German Kindergartens game Achtungspiele: The teacher makes the children repeat snatches of their activities, things they have done today, yesterday, a few days ago. It serves the purpose of developing the pupil’s memory, analyzing his actions, and sharpening his sense of observation. Sometimes the child is allowed to make its own choice, and then the teacher makes her conclusion as to what direction the child’s interest takes, and either develops it or warns the parents and other teachers about it. For instance, the child who chooses to remember how it destroyed a bird’s nest is not punished, but an effort is made to shift its interest into a different sphere."
• "You ought to change your career, my child. You ought to become a detective. I: Madame, isn’t every produced play and every acted part a discovery of hidden values and treasures? The unveiling of virtues and vices, the control of passions? A fourth wall removed from a room? A battle-field exposed?"
• "You have always told me that inspiration and spontaneity are results of calculation and practice."

[Elizabeth Ellen · Rating 4 out of 5]

Published nearly 100 years ago, this is another basic text in the foundation of Method Acting. Using the old-fashioned technique of a dialogue between teacher and student, six "lessons" are offered revealing the techniques of this psychologically-based acting technique.

Reading as a writer, I found great value particularly in the subjects of character-building, what to look for when observing, searching great works of art for clues about mannerisms, posture, etc. Developing skills of identifying not only the expected emotion in a situation, but refining this with knowledge of the character, are particularly helpful.

Four stars, because as a book, I find the artificial "conversation" is a tedious style of information presentation to read.

I'm glad to have this on my bookshelf, and I'll be re-reading it for years.

[Rikki · Rating 3 out of 5]

I only read this book for research on my WIP. It’s also short and straightforward, so it’s relatively a breeze to read.

That said, though this book did offer a lot of insight into the craft of acting, it bothered me that Bolevslasky constantly refers to the aspiring actress he’s mentoring as “creature.” It’s dehumanizing somehow. Like, man, just refer to her as “girl.” It’s not a horrible word to use.

I also wished that this book was in the point of view of an actor instead of a director. Bolevslasky has a lot of things to share about acting, that much is true, but I imagine the perspective of a director is different from the perspective of the actor.

I admit that I’m not the target audience for this book since I’m not an actor, and it’s possible that this is helpful for those aspiring thespians out there.

[Will · Rating 3 out of 5]

Structured as a dialogue between the author and a young actress - "The Creature" - the book discusses the authors first essential six lessons of acting. First is concentration, and the ability of the actor to focus on their performance and nothing else. Second is memory of emotion, and the ability to connect one's acting to their own emotional experiences. These are followed by dramatic action, and characterization (becoming the character, as a real person with real history). Finally, observation and rhythm. Although I have no interest in acting, this is certainly an interesting and unusual book to read.

[Monica · Rating 1 out of 5]

I have seen this book recommended over & over again because it has such great lessons to teach. I will never know these lessons because I cannot get past the condescending faux dialogue the author used as the means of communicating said lessons. It is supposed to be a teacher and a student as the student attempts to navigate what bbn it takes to learn the craft.

At best, the dialogue is irritating and at worst, it has the feeling of "mansplaining" acting to me.

I kept reading for a bit hoping this structure might just be the introduction, but it just kept going and going and going...

Maybe there's a sparknotes equivalent so I can just get to the meat of it without the lame framework.

[Anushka · Rating 5 out of 5]

Awesome book that covers the basics of acting but also skills that apply to experiencing life. Best of all, it is a marvelously quick and easy read (finished in one read in a couple of hours). It's written as a story of interactions between a teacher and student. The simple exercises described in the chapters on concentration, observation and memory of emotion are great in honing in on those skills and improving a person's capacity of experiencing the world (which is what talent in acting is about).

[Gabrielle · Rating 5 out of 5]

Aside from some references specific to 1933, surprisingly relevant, insightful, and accessible. Many times I had to chuckle and silently exclaim, “ME!” Best to pick up at intervals for something new and chew on it for awhile before moving on.

Quotes:
Acting is the life of the human soul receiving its birth through art....the object for an actor's concentration is the human soul.

Work and patience never fail.

The only real rules in art are the ones we discover for ourselves.

[César OG · Rating 5 out of 5]

A wonderful introduction to acting, in an endearing tale of two friends, a master and an apprentice, along with secondary characters, that together, show the reader the way to proper acting, hopefully, alleviating them from a lot of mistakes and pain.

Easy to understand, short, dynamic chapters, and brilliant passages.

[Gena Lott · Rating 4 out of 5]

The only way to learn acting is to get on the stage, but this classic instruction manual for anyone interested in theatre is a great book to firm up those theories that the professor tells you are essential for good acting.

[Sammie :) · Rating 4 out of 5]

I found this book very helpful! It outlines six techniques that can help improve the quality of your acting. It's written in the form of a conversation which makes it an easy read. An absolute must for actors.

[Scott · Rating 5 out of 5]

I read this start to finish. This book was mentioned in my acting class by my teacher Anthony Abeson. So much of what he preaches to us I found in this book and it’s awesome advice. I know for sure I’ll go back to this time and time again in my journey.

[are we there yet · Rating 3 out of 5]

I haven't read something so old-fashioned in a while. Enjoyed it for that reason, but this B character is rather pompous and the girl sounds so young you can't help but wonder if B is grooming her and will pull a Woody Allen, especially with all these seemingly private lessons.

[Monica · Rating 4 out of 5]

a quick read that totally pulled me in. although it definitely made me want to rush back to the stage, it has refreshed my perspective of life outside the theatre walls as well.

[Maggie C.]

Very interesting, but since I don't plan to dedicate my life to theatre, I don't know how much it really helped me.

[Dragos · Rating 5 out of 5]

One of the best books i've read in the past years. It makes theoretical issues so easy to understand. And it's short, well written and funny.