In An Actor Prepares Stanislavsky advocates a system of acting which in its philosophy echoes a moral concern about the actors’ profession such as has worried mankind from Plato onwards. This problem can be seen to be a key to our understanding of Marston’s Antonio plays. Stanislavsky proposes that an actor must have a personal affinity with his part; that in order to portray a role he must be able ‘to recall sensations previously experienced in his own life, so as to give his part validity.
KeywordsBurning Incense Final Scene Sacrificial Victim Artistic Rule Dramatic Structure
Unable to display preview. Download preview PDF.
- 10.H. Harvey Wood, Introduction to The Plays of John Marston, 3 vols (London and Edinburgh, 1934–9) vol. i, p. xxii.Google Scholar
- 12.John Peter, Complaint and Satire in Early English Literature (Oxford, 1956) p. 224.Google Scholar
- 18.From a fifth-century homily quoted in O. B. Hardison Jr, Christian Rite and Christian Drama in the Middle Ages. Essays in the Origin and Early History of Modern Drama (Baltimore, 1965 ) p. 37.Google Scholar
- 19.A. P. Rossiter, English Drama from Early Times to the Elizabethans (London, 1950) p. 17, is one of many writers to tell us that, ‘in the drunken orgy of the bacchanal or the sexual orgy of the primitive fertility-cult, the gods not only show their power but are, as their true selves, in the frenzies of intoxication or of animal lust’.Google Scholar
- 19.J. G. Frazer, in The Golden Bough (London, 1951) p. 124, gives examples but notes, ‘examples of such temporary inspiration are so common in every part of the world and are now so familiar through books on ethnology that it is needless to multiply illustrations of the general principle’.Google Scholar