• Born in Moscow, Russia in 1863. (died 1938)
  • An actor and moved on to become a director and teacher.
  • Parents did not indulge in his passion for theatre, so he changed his name.
  • He developed a new approach to acting.
  • It took years of experimenting to get to what is now known as the Stanislavski system

Relaxation: Learning to relax the muscles and eliminate physical tension while performing.

Concentration: Learning to think like an actor and to respond to one’s own imagination.

Observation: Discovering the sensory base of the work: learning to memorize and recall sensations, often called “sense memory” and / or “affective memory; learning to work from a small sensation and expand it, a technique Stanislavski called “spheres of attention”.

Communication: Developing the ability to interact with other performers spontaneously, and with an audience, without violating the world of the play.

Imagination: – The more fertile the actor’s imagination, the more interesting would be the choices made in terms of objectives, physical action and creating the given circumstances around the character.

– There is no such thing as “actually” on the stage. Art is a product of the imagination, as the work of a dramatist should be to use his technique to turn the play into a theatrical reality. In this process the imagination plays by for the greatest part.

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