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
lying eye reality
In talking about a genius, you would not say that he lies; he sees realities with different eyes from ours.
success real lying
Success is transient, evanescent. The real passion lies in the poignant acquisition of knowledge about all the shading and subtleties of the creative secrets.
humility realizing greatest-wisdom
The greatest wisdom is to realize one's lack of it.
real theatre action
All action in theatre must have inner justification, be logical, coherent, and real.
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 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.
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.
character play partners
Don't go so deep in yourself that you no longer exist for your partner and for the character and for the play.
new-york wall dad
The first theatre I ever found was in the backyard of a new suburban community in the foothills of the Poconos. My dad was a young FBI agent at his first or second posting - we're all from New York. He was posted in Scranton, Pennsylvania and he put the family in a brand new red-brick apartment. It was in a C-shape and behind it was a small hill that led up to the woods. There was a white-washed brick wall that was a perfect theatre! There were windows and all the ladies behind the windows in their apartments. I would go out there after lunch every day and sing opera.
character events arches
The character has to have some kind of arch. The character has to go through an event, and be changed by the human event.
taken interesting support
I have taken film-work that has been a little more cliché-written, to support myself and my family, and that's a whole kind of other challenge. It's like chopping wood: You've got to take what you can get and bless what withstands you. But in theatre! There's enough great theatre that you can find something interesting!
pain perspective important
We have as many planes of speech as does a painting planes of perspective which create perspective in a phrase. The most important word stands out most vividly defined in the very foreground of the sound plane. Less important words create a series of deeper planes.