36:
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159:(large bits or "events") and shorter "facts" (medium or small bits or "events"), using the Russian terms he had already employed in his notes and drafts earlier in his career. In Stanislavsky's conception, division into "episodes" can reveal the basic building-blocks of action, while subdivision into "facts" can help uncover the changes that occur from one moment to the next. Such divisions can be used to help players explore their characters and discover their
258:) – The analytical segment or "unit" (Hapgood's translation) into which the actor divides each scene in a play. A new "bit" begins whenever an action or counteraction shifts in manner of execution or strategy based upon the mutual interaction of the scene's partners. In the US this term has been transformed into "beats", which may derive from "bits" of the play strung together like "beads" on a necklace when pronounced with a Russian accent by émigré teachers.
299:, Unit – A section of the total action of the play that can be explored separately. Bits can be large, medium or small. The definition of a bit depends entirely on what the actor can understand and improvise immediately in the early stages of rehearsal. Elsewhere, Stanislavski defined bits as episodes, events and facts.
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of acting to students at the Opera-Dramatic Studio in Moscow in the final years of his life, when he was concerned about the risk of losing sight of the play as a whole after breaking the action down into small bits. By this time, he was consistently distinguishing between more extended "episodes"
178:). In addition to choosing more abstract terms for her translations, Hapgood was somewhat inconsistent in their use. For example, she sometimes confuses "bits" (i.e. "units") with the related "tasks" that actors must confront in their roles ("objective" is her translation of
107:) an ordinary Russian word that can be translated as bit – as in a bit, or slice, of bread or meat. This was the term Stanislavsky preferred in the original drafts of his books. Stanislavsky also referred to these bits of action as episodes, events and facts.
102:
202:, who helped bring Stanislavsky's system to America, may have triggered the persistent mistranslation, and ultimately the metaphor commonly encountered in method acting of the script as a musical score. (Following the 1898
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of "bits" into "beats" may derive from the pronunciation of émigré Russian teachers in
America, possibly in conjunction with the image of a string of "beads" on a necklace. It has been suggested that oral teachings by
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171:
209:, Stanislavsky had himself referred to the detailed production plan that can be made for a play as the directorial score, and later the metaphor was further developed by
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The term “unit” was introduced in the standard early translations of
Stanislavsky's writings. Use of beat in the place of bit has become mainstream in American
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Stanislavsky conceived the segmentation of script as a preparatory tool for actors working on a play. Although he used the
Russian word for "bit" (
170:
The frequently used term "units" derives from the somewhat less intuitive terminology introduced by
Stanislavsky's original American translator,
213:, who envisaged a physical score of action.) The word "beat" is sometimes also employed as a stage direction to indicate a significant pause.
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Esch, Kevin (2012). "The Bond that
Unbinds by Binding: Acting Mythology and the Film Community". In Taylor, Aaron (ed.).
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Rehearsal work on "bits" (or "units") of action to explore the dramatic possibilities of a script was propounded by
142:) in the drafts he originally made for his planned books, he later preferred to speak in terms of "episode" (
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Larlham, Daniel (2013). "Stanislavsky, Tolstoy and the 'life of the human spirit'". In White, Andrew (ed.).
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The concept was propounded by the
Russian actor, director and educator
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Stanislavsky in Focus: An Acting Master for the Twenty-first
Century
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174:(a fluent speaker of Russian who had married the diplomat
126:. It was also taken up by the innovative Polish director
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Stanislavski, Konstantin (2008). Benedetti, Jean (ed.).
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16:This article is about acting. For other uses, see
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352:The Routledge Companion to Stanislavsky
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76:, who initially liked to use the term
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279:. Taylor & Francis. p. 682.
239:. Taylor & Francis. p. 214.
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328:. Routledge. pp. 7, 150–151.
277:An Actor's Work: A Student's Diary
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204:Moscow Art Theatre production of
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461:. Psychology Press. p. 28.
130:as a score of physical actions.
235:Carnicke, Sharon Marie (2009).
405:Stanislavski: His Life and Art
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22:Future Force Unit of Action
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382:. Routledge. p. 127.
355:. Routledge. p. 179.
325:Stanislavski and the Actor
51:'s satirical verse comedy
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455:Harrison, Martin (1998).
434:. Routledge. p. 49.
182:, the Russian for task).
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322:Benedetti, Jean (2013).
118:. Stanislavsky used the
510:Konstantin Stanislavski
458:The Language of Theatre
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556:Through-line of action
379:Theorizing Film Acting
146:in Russian), "event" (
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536:Art of representation
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122:to refer to detailed
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624:Building a Character
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49:Alexander Griboyedov
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