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
art alive stage
All art is autobiographical - if it's not, it's not going to quicken on-stage, and it's not going to come alive.
art stars roots
In spite of my great admiration for individual splendid talents I do not accept the star system. Collective creative effort is the root of our kind of art. That requires ensemble acting and whoever mars that ensemble is committing a crime not only against his comrades but also against the very art of which he is the servant.
art play numbers
Stage charm guarantees in advance an actor's hold on the audience, it helps him to carry over to large numbers of people his creative purposes. It enhances his roles and his art. Yet it is of utmost importance that he use this precious gift with prudence, wisdom, and modesty. It is a great shame when he does not realize this and goes on to exploit, to play on his ability to charm.
artist feelings acting
A true priest is aware of the presence of the altar during every moment that he is conducting a service. It is exactly the same way that a true artist should react to the stage all the time he is in the theater. An actor who is incapable of this feeling will never be a true artist.
art theatre actors
Young actors, fear your admirers! Learn in time, from your first steps, to hear, understand and love the cruel truth about yourselves. Find out who can tell you that truth and talk of your art only with those who can tell you the truth.
love art
Love the art in yourself, not yourself in the art.
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.
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.
life art doors
Remember this practical piece of advice: Never come into the theatre with mud on your feet. Leave your dust and dirt outside. Check your little worries, squabbles, petty difficulties with your outside clothing - all the things that ruin your life and draw your attention away from your art - at the door.
real artist exception-to-the-rule
Never lose yourself on the stage. Always act in your own person, as an artist. The moment you lose yourself on the stage marks the departure from truly living your part and the beginning of exaggerated false acting. Therefore, no matter how much you act, how many parts you take, you should never allow yourself any exception to the rule of using your own feelings. To break that rule is the equivalent of killing the person you are portraying, because you deprive him of a palpitating, living, human soul, which is the real source of life for a part.
art love
Love the art in yourself and not yourself in the art.
actors ordinary born
I was born an ordinary actor. I will die an ordinary actor. But I've persisted.
play want actors
You must be so thoroughly immersed in the given circumstances of the play, then you decide what it is at any given moment what that the actor wants.
choices borders psychotic
Gratuitous cruelty borders on the pathological, psychotic and that becomes uninteresting because there is no choice.