An Actor Prepares

Tortsov also represents Stanislavski, but as a master actor, director, and educator. He is also an actively working actor, as demonstrated when he leaves the class briefly for a tour, lending him additional credibility as an artist. Tortsov’s lessons are intricately and effectively structured. He is also calm and unruffled, even when students challenge him or he is faced with the unexpected. Tortsov admits to his students when he doesn’t know why something works but is steadfast in asserting that the system does in fact work. Tortsov teaches the students clearly and with patience and regard for their well-being. Just as Kostya is the ideal student, Tortsov models the ideal instructor. 

The assistant director, Rakhmanov runs the class in Tortsov’s absence and seems to oversee the logistics of the course. He is introduced most clearly in the first chapter, when Kostya shows up late to class and Rakhmanov sends them all home, emphasizing the ensemble nature of the class and the expectations for students to respect each other and their time. 

At the first test performance, Maria becomes overwhelmed with anxiety and runs off of the stage. Over the course of the class, Maria works to overcome her stagefright. She seems to be scattered, frequently losing her handbag, but seems to gain control of her acting and ability to create a character’s inner life. At the end of the class, Tortsov reminds her of her early performances and how they differ from her performance of the scene from Brand, which is sensitive and truthful.

Kostya’s friend, Paul plays Iago to Kostya’s Othello in their test scene. Throughout the class, he is largely agreeable to Tortsov’s teachings. He has an uncle who is a famous actor, implying that Paul’s interest in the theatre has been encouraged by his family. Early in the class, Paul worries about whether or not he will be able to develop an imagination, but he seems to have a breakthrough in this regard when Tortsov tells him to imagine that he is a tree and to create circumstances around that supposition. 

Grisha is the contrarian in the class. He argues with nearly everything Tortsov teaches. He serves as an adversary in the face of whom Tortsov can remain calm and confident. Although Grisha is resistant, when he gives in and listens to Tortsov, he is successful. He offers the reader the perspective of the actor who does not believe that the method works. Although there is no moment when Grisha changes or admits that Tortsov is wrong, he functions to raise questions and doubts that the reader might have.

Vanya is generally a cheerful clown. He begins the year overacting, but over time becomes more truthful. Vanya seems to be exceedingly enthusiastic and willing to work and agrees to anything that Tortsov proposes. He does not seem to be overly-thoughtful or intelligent, but he shows that the willingness to work hard is even more important than innate ability or intelligence.

At the test performance, Tortsov accuses Sonya of performing in order to show off her beauty. She is Grisha’s frequent scene partner, and to Kostya’s surprise, shows vast improvement. She is not as contrary as Grisha, but she does speak out–if with great care and reserve–when she is tired of working on the money-burning scene. Tortsov notices that Sonya has a particular talent for comedy and that she might consider identifying as a comic actress.

When Leo visits Kostya while he is recovering in bed, he demonstrates some of the physical exercises the students are working on. Kostya is surprised to realize that although Leo is larger, he manages the exercises just fine. When the class is visualizing given circumstances, Kostya judges Leo for putting little effort into his imagination. Leo serves to show readers that actors can be effective regardless of body type, and that they can develop their imagination, even if it is initially a slow process.