"Take nothing for granted. Think of your own experiences and use them truthfully."
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| Constantin Stanislavsky |
Stanislavsky
"The real lesson that Stanislavsky taught does not lie in any of the theories and training methods that bear his name. He knew there were no shortcuts to truthfulness. After the actor has assembled all the external facts about a character and used his imagination to feel what it is like to live within those boundaries, there still remains the difficult task of using these insights to better understand the human condition. The rules are irrelevant. The process is all." Stanislavsky on Home Ground, JOHN ELSOM
The origins of Stanislavsky' System are in naturalism, positivism, even Marxism, photography, Darwin, electricity... Realism became "natural" -- the subtext idea promiced that we can discover everything within the ordinary. Everybody as predicted by Christ became a hero. The "immortal soul" could be brought out by the camera! The turn of the century Theatrical Revolution was anti-theatrical, as Meyerhold understood it after a decade of being a revolutionary; he revolted against The Method (with a new one, Theatrical Theatre). Stanislavsky's gift was to small, studio, theatre -- which is a sound stage, with the professional spectators only. It took fifty years for Method to find its true domain -- the screen...
July 2003. More I work on acting and directing pages, stronger the desire to defend the legacy of Stanislavsky, who doesn't need my or anybody else defense. Did you read "True and False" by Mamet? Read and you can see that even a brilliant man could talk nonsense. So, what is the matter with this "Method Acting"? First, there is no one techniques of acting and before Stanislavsky there was no system at all. Period. If you do not understand Chekhov and took place in drama of the 20th century, unlikely you can see the need for the new approach in acting. From inside, artistic, psychological. For a change Stanislavsky thought of actors as artists, no less than writers or philosophers. Do we understand it today? I don't think so. We still stress the craft -- and actors themselves do not equate acting with writing...
Actors do not respect themselves. Even in the age of cinema, where their art could be recorded and preserved, they do not behave as authors. The movies, fame and fortune, turn them into celebraties -- when do they have time to think about the art of acting. What could you do with it?
Perhaps the whole thing came to us too early. Another century or two and maybe we will be ready. Look how complicated the theory of musical composition -- and look at actors! Actor is the biggest orchestra one can imagine, but how primitive is acting theories!
Look back at the twenty five centuries of theatre -- what do you see? The history of drama! The true history of theatre is ahead of us -- the history of acting! Do you still question that a performer is the heart of theatre?
You do not want to use the System? Don't. Do whatever you want in hope that somehow one day you will get it. They say that thousand monkeys could type a Shakespeare' sonnet if they keep typing for one thousand years. Go ahead.
In my film classes students often ask my opinion about our movie actors -- the question itself tells me how little they know about filmmaking ... and acting. Fourty years from today, get the best movies of your youth and watch them again. You will understand how bad is the acting of our best. Camera is close and camera is merciless -- it records, and fourty years from now it won't possible to watch them without a smile...
How do I know? Even my favorites (Fellini, Bergman, Kurosawa, see Film & Movies) can stand as directorial discoveries, but acting -- no comments!
I didn't teach Stanislavsky fifteen years ago. I teach Method now because of the fifteen years of experience of teaching acting. They need it -- the system. Why should I invent some new theories and techniques? I simply use what Stanislavsky (and Meyerhold) discovered. There are many things which are still not explored in Stanislavsky (yoga connections, for one); all you need is start here and go further. Please, do. If I will have time, I want to work on Method, but in Virtual Theatre and The Book of Spectator directions. But this is not a place to talk about it...He is not a director (read Chekhov's letters). He is a head-actor, master-actor -- the old tradition, when the most experienced and smartest does teach the new ones. There are no directors in cirus. Stanislavsky developed his system the under house arrest at the time when Moscow Art Theatre couldn't do anything besides socialist realism. a lot of Russian artists uder Stalin turned to theory in order to stay alive.
Stanislavsky (Alexeyev) wasn't an artist, but a craftsman. His method is not an invention but a discovery of what was used from the beginning of time. "Psychological realism" makes sense because only feelings are the reality. The only material I, the spectator, can use -- my own feelings, memories, experiences. So, Stanislavsky advises actor to do the same.
My dear actor!
Don't wait for your luck -- learn directing to manage yourself in order to direct others -- the public. That is what I do, when I direct shows -- I direct my feelings and thoughts.
When I write plays, I use the same method -- I become a character without forgetting myself. Of course, the character is "me" -- and more. "Identification" is a long word, but the only ground for dramatic experience. It's ME, who must be in the middle of action, I am on stage! Actor uses a role to extend his natural status of being a spectator. He makes an extra step by becoming a new being.
I wish I could have time to translate the best of the century's philosophy into theatrical terms. The existentialists defined it all -- being and becoming, becoming as being an so on. Theatre folks are too busy to read fat books, otherwise they would know the philosophy behind the techniques.
Stanislavsky himself didn't read much and had no idea what Heidegger was writing. But all Russians read Nietzsche and a lot in the Russian Thought follows the tradition of the revolt against modernity and humanity.
Stanislavsky directed Chekhov's plays, didn't he? Chekhov is the great nihilist of all times, the one Nietzsche tried to fight. Chekhov is a demonstration of Nietzsche paradox -- the conflict between Will To Power and the Eternal Return concept.
The Return annihilates TIME and paralyzes WILL. It turns each of us in a babble, when we live in one and only world of SELF.
Obviously, Stanislavsky teaches to study this territory -- the self. Being is Becoming, nothing else. Only Becoming is Being. And here is where "will" is coming into action. It's Self-Willing, getting control over your own Self, known in acting theory is a mastery of emotions, body, voice, etc.
Theatre like everything else is about CONTROL and as every power it starts with the power over yourself. Actor is a master of his own moods! He is happy, when he commands himself to be happy. He is angry when he willing so. He is a creator of his feelings!
What a picture! What a spectacle to watch!
"What exercises resemling solfeggi are needed by him? What scales, what arpeggi for development of creative feeling and experience are required by the actor? They must be given numbers... for systematic exercises in the school and at home. All books and works of the theatre are silent on this score. There is no practical textbook." (My Life in Art, 166-67)
The connection with Yoga (late Stanislavsky) I will explore in Biomechanics. Here, in Method directory, a few words must be said about connections with Freud.
3 parts/levels: important for many Stanislavsky's concepts. Emotional Recall and Supression.
Also, application for drama theraphy!
"Preconscious" is the less understood term. Maybe, this is place for IDENTIFICATION (where actor meets his character)....
[ Left -- Moscow Art Theatre? ]
"The revolution thundered in and made its demands on us. There began a period of new explorations, of reappraisal of the old and the search for new ways. At a time when the new for the sake of the new and the negation of everything that had come before held sway in the theatre, we could not reject out of hand all that was fine in the past ... This link with the past and the eagerness to move to an unknown future, the searching quests of the new theatre - all this helped to keep us from succumbing to the dangerous 'charms' of formalism ... We did not succumb; instead we began our quest for new ways, cautiously but doggedly." - Stanislavsky
biblio on russian theatre
biblio on russian lit Duke *
"Let the wisdom of the old guide the buoyancy and vitality of the youth; let the buoyancy and vitality of the youth sustain the wisdom of the old." - Stanislavsky
Of course, Bulgakov was making fun of the old man ("Black Snow," I lost the fragments I had on my pages), but he rediculed Meyerhold even more. It's well written and in good spirits (Teatralyny Roman, the original title is better) Besides, Bulgakov has his earned right to parody the "System" -- his play "White Guards" gave a new life to the stagnant in the twenties Moscow Art Theatre. Black Snow -- I do not know if itg's as good as in Russian.
Read other (more known) Bulgakov's books and plays.
Read Anatoly Smelyansky's book on Bulgakov and Moscow Art Theatre...
Using the Moscow Art Theatre as his conduit, Stanislavski developed his own unique system of training wherein actors would research the situation created by the script, break down the text according to their character's motivations and recall their own experiences, thereby causing actions and reactions according to these motivations. The actor would ideally make his motivations for acting identical to those of the character in the script. He could then replay these emotions and experiences in the role of the character in order to achieve a more genuine performance. The 17th Century melodrama Tsar Fyodor was the first production in which these techniques were showcased.
The connection with Yoga (late Stanislavsky) I will explore in Biomechanics. Here, in Method directory, a few words must be said about connections with Freud.
3 parts/levels: important for many Stanislavsky's concepts. Emotional Recall and Supression.
Also, application for drama theraphy!
"Preconscious" is the less understood term. Maybe, this is place for IDENTIFICATION (where actor meets his character)....
[ Left -- Moscow Art Theatre? ] "The revolution thundered in and made its demands on us. There began a period of new explorations, of reappraisal of the old and the search for new ways. At a time when the new for the sake of the new and the negation of everything that had come before held sway in the theatre, we could not reject out of hand all that was fine in the past ... This link with the past and the eagerness to move to an unknown future, the searching quests of the new theatre - all this helped to keep us from succumbing to the dangerous 'charms' of formalism ... We did not succumb; instead we began our quest for new ways, cautiously but doggedly." - Stanislavsky
biblio on russian theatre
biblio on russian lit Duke *
"Let the wisdom of the old guide the buoyancy and vitality of the youth; let the buoyancy and vitality of the youth sustain the wisdom of the old." - Stanislavsky
Of course, Bulgakov was making fun of the old man ("Black Snow," I lost the fragments I had on my pages), but he rediculed Meyerhold even more. It's well written and in good spirits (Teatralyny Roman, the original title is better) Besides, Bulgakov has his earned right to parody the "System" -- his play "White Guards" gave a new life to the stagnant in the twenties Moscow Art Theatre. Black Snow -- I do not know if itg's as good as in Russian. Read other (more known) Bulgakov's books and plays.
Read Anatoly Smelyansky's book on Bulgakov and Moscow Art Theatre...
Using the Moscow Art Theatre as his conduit, Stanislavski developed his own unique system of training wherein actors would research the situation created by the script, break down the text according to their character's motivations and recall their own experiences, thereby causing actions and reactions according to these motivations. The actor would ideally make his motivations for acting identical to those of the character in the script. He could then replay these emotions and experiences in the role of the character in order to achieve a more genuine performance. The 17th Century melodrama Tsar Fyodor was the first production in which these techniques were showcased.
December 2, 2001 (NYT) "For Russians, Theater Is a Process of Constant Rediscovery" By LAWRENCE SACHAROW
... Stanislavsky said: "There is no system. There is only nature. My lifelong concern has been how to get ever closer to the so-called system, that is, to get ever closer to the nature of creativity." 
He is not a director (read Chekhov's letters). He is a head-actor, master-actor -- the old tradition, when the most experienced and smartest does teach the new ones. There are no directors in cirus. Stanislavsky developed his system the under house arrest at the time when Moscow Art Theatre couldn't do anything besides socialist realism. a lot of Russian artists uder Stalin turned to theory in order to stay alive. 