Konstantin Stanislavski
Konstantin Stanislavski
Full Name and Common Aliases
Konstantin Sergeyevich Stanislavski was born on January 5, 1863, in Moscow, Russia. He is commonly known as Constantin Stanislawski.
Birth and Death Dates
Birth: January 5, 1863
Death: August 7, 1938
Nationality and Profession(s)
Russian actor, director, and theatre practitioner
Early Life and Background
Stanislavski was born into a wealthy merchant family in Moscow. His father, Sergey, was a successful merchant who owned a textile factory. Konstantin's mother, Yelena, came from a family of artists and musicians. From an early age, Stanislavski showed a keen interest in the arts, particularly music and acting.
Major Accomplishments
Stanislavski is widely regarded as one of the most influential theatre practitioners of the 20th century. He is best known for developing the "System," a comprehensive approach to acting that emphasizes the actor's emotional preparation and connection with the material being performed. The System, also known as the "Stanislavski Method," revolutionized the art of acting and had a profound impact on modern theatre.
Notable Works or Actions
In 1897, Stanislavski co-founded the Moscow Art Theatre (MAT) with Vladimir Nemirovich-Danchenko. During his tenure at MAT, Stanislavski directed numerous productions that showcased his innovative approach to acting and directing. Some of his most notable works include:
"The Power of Darkness" (1903)
"The Seagull" (1896)
"Hamlet" (1911)Impact and Legacy
Stanislavski's work has had a lasting impact on the world of theatre and acting. His System continues to influence actors, directors, and playwrights around the globe. The Moscow Art Theatre, which he co-founded, remains one of the most respected and renowned theatres in the world.Why They Are Widely Quoted or Remembered
Stanislavski's quotes are widely quoted because they offer insights into his innovative approach to acting and directing. His quotes also reflect his passion for theatre and his commitment to pushing the boundaries of artistic expression. Some of his most famous quotes include:
"There is no such thing as a small part."
"The actor must be able to feel, to think, to imagine, to remember, and to will."
"The task of the actor is not to play the role but to find it."
These quotes demonstrate Stanislavski's dedication to his craft and his commitment to helping actors develop a deeper understanding of their characters and the material they are performing.
Quotes by Konstantin Stanislavski
Konstantin Stanislavski's insights on:
All art is autobiographical – if it’s not, it’s not going to quicken on-stage, and it’s not going to come alive.
It is not enough to discover the secret of a play, its thought and feelings – the actor must be able to convert them into living terms.
Gratuitous cruelty borders on the pathological, psychotic and that becomes uninteresting because there is no choice.
In talking about a genius, you would not say that he lies; he sees realities with different eyes from ours.
I was born an ordinary actor. I will die an ordinary actor. But I’ve persisted.
Don’t go so deep in yourself that you no longer exist for your partner and for the character and for the play.
The main factor in any form of creativeness is the life of a human spirit, that of the actor and his part, their joint feelings and subconscious creation.
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.
The direct effect on our mind is achieved by the words, the text, the thought, which arouse consideration. Our will is directly affected by the super-objective, by other objectives, by a through line of action. Our feelings are directly worked upon by tempo-rhythm.
If you speak any lines, or do anything, mechanically, without fully realizing who you are, where you came from, why, what you want, where you are going, and what you will do when you get there, you will be acting without imagination. That time, whether it will be short or long, will be unreal, and you will be nothing more than a wound-up machine, an automation.