The differences between the Russian and English-language editions of volumes two and three were even greater than those of the first volume. The third volume, An Actor's Work on a Role, was published in the Soviet Union in 1957 its nearest English-language equivalent, Creating a Role, was published in 1961. The second part of An Actor's Work on Himself was published in the Soviet Union in 1948 an English-language variant, Building a Character, was published a year later. A significantly different and far more complete Russian edition, An Actor's Work on Himself, Part I, was not published until 1938, just after Stanislavski's death. By 1935, a version of the first volume was ready for publication in America, to which the publishers made significant abridgements. In 1933, Stanislavski worked on the second half of An Actor's Work. '): 'You must ask the kinds of questions that lead to dynamic action.' Instead of forcing emotion, he explained, actors should notice what is happening, attend to their relationships with the other actors, and try to understand 'through the senses' the fictional world that surrounds them. ') rather than emotion ('How would I feel if.
He stressed the importance to achieving this state of a focus on action ('What would I do if.
This term marks the stage in the rehearsal process when the distinction between actor and character blurs (producing the 'actor/role'), subconscious behaviour takes the lead, and the actor feels fully present in the dramatic moment. Stanislavski continued to develop his 'system', explaining at an open rehearsal for Woe from Wit his concept of the state of 'I am being'. Turning to the classics of Russian theatre, the MAT revived Griboyedov's comedy Woe from Wit and planned to stage three of Pushkin's 'little tragedies' in early 1915.
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