The Vertical of the Role

The Vertical of the Role
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Today’s actors must be able to perform as soloists in the worlds of theatre and film. The technique of the ‘Vertical of the Role’ enables actors to develop their independence and autonomy when analyzing their roles, leading them to become authors of their own art in their own right. It offers the basis for all manner of successful auditions, but also for artistic interaction within an ensemble and with a director. Generations of actors have grown up with Stanislavsky’s classic, ‘The Actor’s Work on Himself’, but the theatre of the 21st century with its own framework of production demands new forms of independent work from the actor. Jurij Alschitz has developed the method of the ‘Vertical of the Role’ during his years of detailed research into theatre practice. The research was carried out in European Theater Centers which Jurij Alschitz himself established in Germany, Italy, and Scandinavia and the results of this research have been tested and successfully applied on stage in theatre practice all over the world. In this book, Jurij Alschitz offers his thoughts on the ethics of the acting profession. He views the actor as the author, creator, and center of the dramatic performance, who must consequently be equipped with the appropriate technical skills to fulfill this wide range of tasks. The successive phases of the actor’s work on the ‘Vertical of the Role’ are explained in detail, ready to be used by the actor, or to form a basis for teachers and directors who wish to apply this method. A separate chapter describes daily training for the actor on the basis of practical exercises.

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Jurij Alschitz. The Vertical of the Role

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Jurij Alschitz

The Vertical of the Role

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Berlin 2003

Recently in the theatre I have noticed an alarming development. The time allocated for rehearsals is gradually being reduced. One has to fight for every additional day: one has to explain that the limited rehearsal period also limits the creative search both by the actor and by the director, that it is forcing them to concentrate not on the process itself but on the result. Everybody agrees that this development cannot be good for the theatre but the situation only gets worse. Indeed, it has become fairly obvious that to withstand this pressure one has to change the very method and technology of one’s work on a role and on a theatre production as a whole. The winner will be the director who is first able to change the emphasis of his work with the actor.

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