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74
like Clifford Odets, Arthur Miller and Tenness ee Willia ms , the Method ended up being
applied to older works like those of Shakespeare. Indeed it is an instructive contention
whether or not this is an appropriate idea, namely that of a Method approach to pre-
Modernist plays. For while the System and Method share the same love of psychology, in
reality they are very different, as different as the temperaments of Stanislavski and Strasberg
The System is, through a sort of shorthand, often confused with the Method because of
its close ties to New York, and again because of figures like Adler, who visited Stanislavski
himself. But the System is frequently also confused with itself. For while it may seem that
Stanislavski had, throughout his life, one, focused, project, this is emphatically not the case.
There is a story that an actress who had once been in a play directed by Stanislavski
came to him years later and informed him that she had taken very copious notes of him and
his technical approach during rehearsal, and she would like to note what to do with these
notes. He replied, 'Burn them all.'
The anecdote, whether or not true, is instructive of Stanislavski and his approach. The
Stanis lavski of later life is not the s ame one as the Stanis lavs ki whom Stella Adler firs t met.
At times, Stanislavski's methodological rigor bordered on opacity: see, for instance, the
chart of the 'Stanislavski System' included as a fold-out in editions of Robert Wilson's book
Method or Madness, a series of lectures. The chart, made by Adler, is very complicated,
listing by various numbers all aspects of performance and of the actor that he thought were
pertinent at the time. His dedication to completeness and accuracy often contended with his
goal of making a workable system that actors might actually use.
See also his description of the correct way of walking on stage, in his own book
translated into English as Building a Character. His interest in analyzing as far as possible
the qualities of a given phenomenon were meant to give an awareness to the actor of the
complexities of human behaviour, and how easily falsehoods -- aspects of behaviour that an
audience can detect even without being aware -- are assumed by an untrained or
inexperienced actor in performance. All things, all actions that a person must do, like walk,
talk, and even sit on stage, must be broken down an re-learned, Stanislavski insisted at one
point. Such rigors of re-learning were probably a constant throughout his life. Stanislavski, a
man of institution, a namely his own Moscow Art Theatre and its associated studios, was a
great believer in formal (and rigorous) training for the actor.
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