Category Archives: Constant Stanislavski

CONSTANT STANISLAVSKI (125) ·

The words and wisdom of Constantin Stanislavski:

In a series of variegated exercises I tried to develop in my pupils not the outward rhythm of movement and action, but the inner rhythm of that unseen energy which calls out movement and action. In this manner I was able to develop in my pupils the sensation of movement and gesture, walking and the entire inner pulse of life. These are purely practical methods and theses, which are useful in our work, and it would be a mistake to look in them for any scientific bases, from which I feel myself to be very far. (MLIA)

CONSTANT STANISLAVSKI (124) ·

The words and wisdom of Constantin Stanislavski:

It is better not to read verse at all, than read it in the way which is considered lawful, requisite, and patented in the sense of poetry and musicalness. Rhythm does not consist in stressing iambs and anapaests. I cannot bear the marchlike beating out of rhythm. I want to sleep when I hear the reading of verse in a solemnly monotonous voice with chromatic tones crawling up. I cannot bear vocal leaps to the terza or quinta with a fall at the end of each line to a secunda. There is nothing more vulgar than a made, sweetish, quasi-poetical voice in lyric poems, which rises and falls like waves during a dead calm. (MLIA)

 

CONSTANT STANISLAVSKI (123) ·

The words and wisdom of Constantin Stanislavski:

The auditorium was filled by a crowd of simple workingmen and peasants. They listened to what was going on on the stage in the deepest of silences. The serious thoughtful mood . . . prevented them from staging an ordinary theatrical ovation. After the end of the performance the spectators sat for a long time without any movement and departed without any noise, as if they were leaving a temple of worship after prayer. (MLIA)

CONSTANT STANISLAVSKI (122) ·

The words and wisdom of Constantin Stanislavski:

Our art is not eternal, but it is the most inescapable of all arts so far as our contemporaries are concerned. What strength there is in it! Its action is created not by one man, but simultaneously by a group of actors, artists, stage directors, and musicians; not by one art, but simultaneously by many most diverse arts, music, drama, painting, declamation, dancing. This theatrical action is received not by one man, but simultaneously by a crowd of human beings which develops a mass emotion that sharpens the moments of receptivity. (MLIA)

CONSTANT STANISLAVSKI (121) ·

The words and wisdom of Constantin Stanislavski:

It remains unknown why certain places in a play are laughed at by everybody at all performances in one city, while altogether different places in the same play produce the same results in other cities. We did not know why the new spectator did not accept the famous laughing places in a play as such, nor did we know how to change our individual and collective performances in order to reach the seat of his emotions. (MLIA)

 

CONSTANT STANISLAVSKI (120) ·

The words and wisdom of Constantin Stanislavski:

When . . . somebody advised Chekhov to write a play about the [Russo-Japanese] war, the great writer was insulted:

“Listen,” he said, “it is necessary that twenty years should pass. It is impossible to speak of it now. It is necessary that the world should be in repose. Only then can an author be unprejudiced.” (MLIA)

CONSTANT STANISLAVSKI (119) ·

The words and wisdom of Constantin Stanislavski:

What torture it is to feel truthfully but to incarnify your true feelings falsely and in unworthy form. I bore these pains for two seasons in . . . [a] role beyond my strength. . . . What is important is that after this production I could say to myself: “I know that I know nothing.” (MLIA)

CONSTANT STANISLAVSKI (117) ·

The words and wisdom of Constantin Stanislavski:

[With] Turgenev’s A Month in the Country . . . built on the most delicate curves of love experience. . . . it was necessary to do away with all that might interfere with the spectator’s process of entering into the souls of the actors through the eyes or from receiving, through the voice and its intonations, the inner essence of the feelings and thoughts of the characters of the play. . . . [The solution] was to let the actors sit without moving, let them feel, speak, and infect the spectator with the manner in which they live their roles . . . as to display the inner essence and the word picture of the spiritual lacework. . . . (MLIA)

CONSTANT STANISLAVSKI (116) ·

The words and wisdom of Constantin Stanislavski:

[It was in our production of Cricket on the Hearth, based on Dickens], perhaps, that there sounded for the first time those deep and heartfelt tones of superconscious feeling in the measure and the form in which I dreamed of them at that time, and which did not find place in the large and uncomfortable auditorium of a regular theatre where the actors were forced to raise and strain their voices and to stress their acting theatrically. The spectator did not know the true reasons, nor our ingenuity which gave him a feeling of and nearness with the actors, and credited the whole result to the actors themselves. The scenery and properties were of the simplest, without any unnecessary details. (MLIA)