16 Facts About Stanislavski's system

Stanislavski's system is a systematic approach to training actors that the Russian theatre practitioner Konstantin Stanislavski developed in the first half of the twentieth century.

Stanislavski's system's system cultivates what he calls the "art of experiencing".

Stanislavski's system introduced into the production process a period of discussion and detailed analysis of the play by the cast.

Stanislavski's system began to develop the more actor-centred techniques of "psychological realism" and his focus shifted from his productions to rehearsal process and pedagogy.

Stanislavski's system pioneered the use of theatre studios as a laboratory in which to innovate actor training and to experiment with new forms of theatre.

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Stanislavski's earliest reference to his system appears in 1909, the same year that he first incorporated it into his rehearsal process.

Rediscovery of the 'Stanislavski's system' must begin with the realization that it is the questions which are important, the logic of their sequence and the consequent logic of the answers.

Stanislavski's system approach seeks to stimulate the will to create afresh and to activate subconscious processes sympathetically and indirectly by means of conscious techniques.

Stanislavski's system encouraged this absorption through the cultivation of "public solitude" and its "circles of attention" in training and rehearsal, which he developed from the meditation techniques of yoga.

Stanislavski's system developed a rehearsal technique that he called "active analysis" in which actors would improvise these conflictual dynamics.

Benedetti argues that a significant influence on the development of Stanislavski's system came from his experience teaching and directing at his Opera Studio.

Stanislavski's system created it in 1918 under the auspices of the Bolshoi Theatre, though it later severed its connection with the theatre.

Stanislavski's system hoped that the successful application of his system to opera, with its inescapable conventionality, would demonstrate the universality of his methodology.

Stanislavski's system recommended an indirect pathway to emotional expression via physical action.

Stanislavski's system suggests that Moore's approach, for example, accepts uncritically the teleological accounts of Stanislavski's work.

Stanislavski's system work made little impact on British theatre before the 1960s.