Category Archives: Constant Stanislavski


Chekhov always had the best of opinion about military men, especially those in active service, for they, in his own words, were to a certain extent the bearers of a cultural mission, since, coming into the farthest corners of the provinces, they brought with them new demands on life, knowledge, art, happiness, and joy. Chekhov least of all desired to hurt the self-esteem of the military men. (MLIA)


The men of Chekhov do not bathe, as we did at that time, in their own sorrow. Just the opposite: they, like Chekhov himself, seek life, joy, laughter, courage. The men and women of Chekhov want to live and not to die. They are active and surge to overcome the hard and unbearable impasses into which life has plunged them. It is not their fault that Russian life kills initiative and the best of beginnings and interferes with the free action and life of men and women. (MLIA)


In talking and acting so that the spectator does not understand either the words or the problems of the actors, all that the actor really accomplishes is the letting down and lowering of the interest of the spectator in the performance and the general tone of his spiritual state of being. (MLIA)


The prevalent mistake of beginning stage directors and actors is that they think that the heightening of tone is the quickening of tempo; that playing in full tone is loud and quick talking and strained action. But the expressions the “heightening of tone,” “full tone,” “quickening of tempo” have nothing to do with the actor and all with the spectator. (MLIA)


The Chekhov mood is that cave in which are kept all the unseen and hardly palpable treasures of Chekhov’s soul, so often beyond the reach of mere consciousness. The cave is that vessel in which is hidden the great riches of Chekhov. One must know how to find the place where it is hidden. (MLIA)