Category Archives: Constant Stanislavski


The fantastic is a glass of foaming champagne. . . . In The Snow Maiden there is exceptionally beautiful Russian epos, and in The Blue Bird an artistically interpreted symbol.

It is engaging to invent something that has never happened in life but is nevertheless a truth that lives in men and nations forever.  (MLIA)


“If we could only see the image, see how he walks, talks, laughs, and come to know the quality of his voice,” we said to ourselves when we approached the role.  “If we can find the image, all the rest will come of itself.”

“What do you feel?  The physically outward image or the fundamental spiritual feeling of the role?  The idea for the sake of which the poet wrote the play?” (MLIA)


In order to rejuvenate art, we declared war on all the conventionalities of the theatre wherever they might occur—in the acting, in the properties, in the scenery, the costumes, the interpretation of the play, the curtain, or anywhere else in the play or the theatre.  All that was new and that violated the usual customs of the theatre seemed beautiful and useful to us.  (MLIA)