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Text 2. Stanislavski System
The Stanislavski System is an approach to acting developed by Konstantin
Stanislavski, a Russian actor, director, and theatre administrator. The System is the result of
Stanislavski's many years of efforts to determine how a human being can control, in
performance, the most intangible and uncontrollable aspects of human behavior: things such
as emotions, and artistic inspiration.
The System arose as a result of the questions a young Stanislavski had regarding great
actors whom he admired in his youth -- actors like the tragedian Tommasso Salvini -- and
how these actors seemed to operate on different rules than everyone else, and yet like
everyone else, they were susceptible on some nights to flashes of inspiration, of completely
'being a role', while on other nights their performances were good or merely accurate.
In essence, the goal that remained throughout the life of Stanislavski was to formulate
some codified, systematic approach that might impart to a given actor some grip on his
'instrument', that is, himself, beyond immediate physical control.
Konstantin Stanislavski had a dictum at some point, which he probably believed
throughout most of his life, that one should always approach a role as directly as possible
and see if it lives. If the actor and role connect, and the role comes to life, then what is the
point of applying a technique, a system? Forget it, and enjoy, he assured his actors, but
remember: such a thing may only happen once or twice in your life, or never. The rest is --
technique. The rest is dependent upon your way of working.
It must surely depend on the individual actor and whether or not an approach 'works'
for him, as actors are fond of saying. And indeed it is a very practical thought, coming from
Stanis lavs ki, a man who in the end, was always brilliantly practical.
Stanislavski and his System are frequently misunderstood. For instance, often the
System is confused with the Method. The latter is an outgrowth of the American (much of it
in New York) theatre scene in the 1930s and 40s , when actors and directors such as Elia
Kazan, Robert Lewis, Lee Strasberg, etc, first in the Group Theatre and later in the Actors
Studio, came across Stanislavki's thought through such intermediaries as Stella Adler and
Richard Boleslavski. Stanislavski's emphasis on life within moments, on psychological
realism, on emotional authenticity, seemed to attract the actors and thinkers working in
these cutting-edge institutions. While much work was done with the works of playwrights
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