Category Archives: Constant Stanislavski


Let someone teach us to speak simply, musically, nobly, beautifully, but without vocal acrobatics, actors’ pathos and all the odds and ends of scenic diction.  We want the same thing in movement and action.  Let them be humble and not completely expressive and scenic in the theatrical sense of the word, but then they are not false, and they are humanly simple.  (MLIA)


In the repertoire of an actor, among the large number of parts played by him, there are some that seem to have been creating themselves in his inner consciousness for a long time.  One only has to touch the role and it comes to life without any of the tortures of creation, without any quest or technical work.  Life itself has created that role in its own good time, life and nature.  (MLIA)


How many actors’ sins are covered by the artist, his line and color.  How easily he gives an artistic shading to the whole performance.  It is not in vain that so many talentless actors and directors forcibly hide themselves behind the scenery, costumes, color spots on the stage, impressionism, cubism, futurism, and all the isms that frighten the inexperienced spectator and the naïve bourgeois. (MLIA)


The more times emotion is forced to attack problems too difficult for it, the more timid it becomes and the more used to its buffers.  And the more the buffers are developed, the harder it is for emotion to appear when needed and the more necessity there is for old stencils and stagy craftsmanship.  The more stamps and staginess, the farther emotion runs from them. (MLIA)


The actor becomes a prostitute who appears so many hours each evening for the purpose of exhibiting his beauty, his legs, his breast, his muscles, his animal temperament and passion, his loud voice and all that might enchant a woman.  This is a hateful and shameful trade that lowers the dignity of the actor.  (MLIA)