The objective here is to revisit, alongside with Georges Bataille, one of the most excessive, and most difficult to perform, dramas in Stanislavski's An Actor Prepares: the scene called "the burnt money". If Tortsov, the master in this theatrical essay that takes the form of a novel of formation, insists on asking his apprentices to repeat the scene, to the extent that it becomes one of the greatest leitmotiven in the book, it is because Stanislavski himself sees in it the outer frontiers of pantomime and melodrama, to which every modern actor should get acquainted to in order to act. This scene acts as a critical episode of the "staging" event. One could read it as an "inner experience", which allows for a double particularization: that of Stanislavski's singular philosophy and that of Bataille's "dramatization method".
Bataille; Stanislavski; inner experience; dramatization; theatre; staging; acting