Constantin Stanislavski
Constantin Stanislavski
Konstantin Sergeyevich Stanislavskywas a Russian actor and theatre director. The Stanislavsky system would inspire numerous acting teachers in America whose teachings became a dominant force in film acting, especially in the period after World War II...
NationalityRussian
ProfessionStage Actor
Date of Birth17 January 1863
CountryRussian Federation
direct-effect feelings mind
The direct effect on our mind is achieved by the words, the text, the thought, which arouse consideration. Our will is directly affected by the super-objective, by other objectives, by a through line of action. Our feelings are directly worked upon by tempo-rhythm.
moving inspiration actors
When an actor is completely absorbed by some profoundly moving objective so that he throws his whole being passionately into its execution, he reaches a state we call inspiration.
people different attention
In life we listen to other people. Listen with varying degrees of concentration and attention, right? Actors must learn to listen in a different way.
artist interesting desire
Every person who is really an artist desires to create inside of himself another, deeper, more interesting life than the one that actually surrounds him.
philosophy two common-purpose
In every physical action, unless it is purely mechanical, there is concealed some inner action, some feelings. This is how the two levels of life in a part are created, the inner and the outer. They are intertwined. A common purpose brings them together and reinforces the unbreakable bond.
doubt enemy creativeness
Doubt is the enemy of creativeness.
cutting play scene
In the given circumstances you must be rooted in the play. Do not depart from the play. Don't cut yourself off from your partner in the scene, or partners.
character unhappy looks
When you're playing a character who's cruel, look for the places where he's kind. When you're playing a character who is unhappy, look for the places where he has a glint of merriment.
theatre better-person should
Unless the theatre can ennoble you, make you a better person, you should flee from it.
art inspiration differences
The main difference between the art of the actor and all other arts is that every other [non-performing] artist may create whenever he is in the mood of inspiration. But the artist of the stage must be the master of his own inspiration, and must know how to call it forth at the hour announced on the posters of the theatre. This is the chief secret of our art.
light circles darkness
In the circle of light on the state in the midst of darkness, you have the sensation of being entirely alone... This is called solitude in public... During a performance, before an audience of thousands, you can always enclose yourself in this circle, like a snail in its shell... You can carry it wherever you go.
stage here-and-now
When we are on stage, we are in the here and now.
two way roles
You'll never see any two good actors approach a role in the same way.
inspiration mind actors
Of course, if you have thought up to now that an actor relies merely on inspiration you will have to change your mind. Talent without work is nothing more than raw unfinished material.