Konstantin Stanislavski
Konstantin Sergeyevich Stanislavski was a seminal Russian and Soviet theatre practitioner. He was widely recognized as an outstanding character actor, and the many productions that he directed garnered him a reputation as one of the leading theatre directors of his generation. His principal fame and influence, however, rests on his "system" of actor training, preparation, and rehearsal technique.
Stanislavski performed and directed as an amateur until the age of 33, when he co-founded the world-famous Moscow Art Theatre company with Vladimir Nemirovich-Danchenko, following a legendary 18-hour discussion. Its influential tours of Europe and the US, and its landmark productions of The Seagull and Hamlet, established his reputation and opened new possibilities for the art of the theatre. By means of the MAT, Stanislavski was instrumental in promoting the new Russian drama of his day—principally the work of Anton Chekhov, Maxim Gorky, and Mikhail Bulgakov—to audiences in Moscow and around the world; he also staged acclaimed productions of a wide range of classical Russian and European plays.
He collaborated with the director and designer Edward Gordon Craig and was formative in the development of several other major practitioners, including Vsevolod Meyerhold, Yevgeny Vakhtangov, and Michael Chekhov. At the MAT's 30th anniversary celebrations in 1928, a massive heart attack on-stage put an end to his acting career. He continued to direct, teach, and write about acting until his death a few weeks before the publication of the first volume of his life's great work, the acting manual An Actor's Work. He was awarded the Order of the Red Banner of Labour and the Order of Lenin and was the first to be granted the title of People's Artist of the USSR.
Stanislavski wrote that "there is nothing more tedious than an actor's biography" and that "actors should be banned from talking about themselves". At the request of a US publisher, however, he reluctantly agreed to write his autobiography, My Life in Art, though its account of his artistic development is not always accurate. Three English-language biographies have been published: David Magarshack's Stanislavsky: A Life ; Jean Benedetti's Stanislavski: His Life and Art. and Nikolai M Gorchakov's "Stanislavsky Directs". An out-of-print English translation of Elena Poliakova's 1977 Russian biography of Stanislavski was also published in 1982.
Overview of the system
Stanislavski subjected his acting and direction to a rigorous process of artistic self-analysis and reflection. His system of acting developed out of his persistent efforts to remove the blocks that he encountered in his performances, beginning with a major crisis in 1906. He produced his early work using an external, director-centred technique that strove for an organic unity of all its elements—in each production he planned the interpretation of every role, blocking, and the mise en scène in detail in advance. He also introduced into the production process a period of discussion and detailed analysis of the play by the cast. Despite the success that this approach brought, particularly with his Naturalistic stagings of the plays of Anton Chekhov and Maxim Gorky, Stanislavski remained dissatisfied.File:Diagram of Stanislavski's 'system'.jpg|thumb|left|Diagram of Stanislavski's system, based on his "Plan of Experiencing", showing the inner and outer aspects of a role uniting in the pursuit of a character's overall "supertask" in the drama.
Both his struggles with Chekhov's drama and his experiments with Symbolism encouraged a greater attention to "inner action" and a more intensive investigation of the actor's process. He began to develop the more actor-centred techniques of "psychological realism" and his focus shifted from his productions to rehearsal process and pedagogy. He pioneered the use of theatre studios as a laboratory in which to innovate actor training and to experiment with new forms of theatre. Stanislavski organised his techniques into a coherent, systematic methodology, which built on three major strands of influence: the director-centred, unified aesthetic and disciplined, ensemble approach of the Meiningen company; the actor-centred realism of the Maly; and the Naturalistic staging of Antoine and the independent theatre movement.
The system cultivates what Stanislavski calls the "art of experiencing". It mobilises the actor's conscious thought and will to activate other, less-controllable psychological processes—such as emotional experience and subconscious behaviour—sympathetically and indirectly. In rehearsal, the actor searches for inner motives to justify action and the definition of what the character seeks to achieve at any given moment. Stanislavski's earliest reference to his system appears in 1909, the same year that he first incorporated it into his rehearsal process. The MAT adopted it as its official rehearsal method in 1911.
Later, Stanislavski further elaborated the system with a more physically grounded rehearsal process that came to be known as the "Method of Physical Action". Minimising at-the-table discussions, he now encouraged an "active analysis", in which the sequence of dramatic situations is improvised. "The best analysis of a play", Stanislavski argued, "is to take action in the given circumstances."
Just as the First Studio, led by his assistant and close friend Leopold Sulerzhitsky, had provided the forum in which he developed his initial ideas for the system during the 1910s, he hoped to secure his final legacy by opening another studio in 1935, in which the Method of Physical Action would be taught. The Opera-Dramatic Studio embodied the most complete implementation of the training exercises described in his manuals. Meanwhile, the transmission of his earlier work via the students of the First Studio was revolutionising acting in the West. With the arrival of Socialist realism in the USSR, the MAT and Stanislavski's system were enthroned as exemplary models.
Family background and early influences
Stanislavski had a privileged youth, growing up in one of the richest families in Russia, the Alekseyevs. He was born Konstantin Sergeyevich Alekseyev—he adopted the stage name "Stanislavski" in 1884 to keep his performance activities secret from his parents. Up until the communist revolution in 1917, Stanislavski often used his inherited wealth to fund his experiments in acting and directing. His family's discouragement meant that he appeared only as an amateur until he was thirty three.As a child, Stanislavski was interested in the circus, the ballet, and puppetry. Later, his family's two private theatres provided a forum for his theatrical impulses. After his debut performance at one in 1877, he started what would become a lifelong series of notebooks filled with critical observations on his acting, aphorisms, and problems—it was from this habit of self-analysis and critique that Stanislavski's system later emerged. Stanislavski chose not to attend university, preferring to work in the family business.
Increasingly interested in "experiencing the role", Stanislavski experimented with maintaining a characterization in real life. In 1884, he began vocal training under Fyodor Komissarzhevsky, with whom he also explored the coordination of body and voice. A year later, Stanislavski briefly studied at the Moscow Theatre School but, disappointed with its approach, he left after little more than two weeks. Instead, he devoted particular attention to the performances of the Maly Theatre, the home of Russian psychological realism.
Shchepkin's legacy included a disciplined, ensemble approach, extensive rehearsals, and the use of careful observation, self-knowledge, imagination, and emotion as the cornerstones of the craft. Stanislavski called the Maly his "university". One of Shchepkin's students, Glikeriya Fedotova, taught Stanislavski; she instilled in him the rejection of inspiration as the basis of the actor's art, stressed the importance of training and discipline, and encouraged the practice of responsive interaction with other actors that Stanislavski came to call "communication". As well as the artists of the Maly, performances given by foreign stars influenced Stanislavski. The effortless, emotive, and clear playing of the Italian Ernesto Rossi, who performed major Shakespearean tragic protagonists in Moscow in 1877, particularly impressed him. So too did Tommaso Salvini's 1882 performance of Othello.
Amateur work as an actor and director
By now well known as an amateur actor, at the age of twenty-five, Stanslavski co-founded a Society of Art and Literature. Under its auspices, he performed in plays by Molière, Schiller, Pushkin, and Ostrovsky, as well as gaining his first experiences as a director. He became interested in the aesthetic theories of Vissarion Belinsky, from whom he took his conception of the role of the artist.On, Stanislavski married Maria Lilina. Their first child, Xenia, died of pneumonia in May 1890, less than two months after she was born. Their second daughter, Kira, was born on. In January 1893, Stanislavski's father died. Their son Igor was born on.
In February 1891, Stanislavski directed Leo Tolstoy's The Fruits of Enlightenment for the Society of Art and Literature, in what he later described as his first fully independent directorial work. But it was not until 1893 he first met the great realist novelist and playwright that became another important influence on him. Five years later, the MAT would be his response to Tolstoy's demand for simplicity, directness, and accessibility in art.
Stanislavski's directorial methods at this time were closely modelled on the disciplined, autocratic approach of Ludwig Chronegk, the director of the Meiningen Ensemble. In My Life in Art, Stanislavski described this approach as one in which the director is "forced to work without the help of the actor". From 1894 onward, Stanislavski began to assemble detailed prompt-books that included a directorial commentary on the entire play and from which not even the smallest detail was allowed to deviate.
Whereas the Ensemble's effects tended toward the grandiose, Stanislavski introduced lyrical elaborations through the mise-en-scène that dramatised more mundane and ordinary elements of life, in keeping with Belinsky's ideas about the "poetry of the real". Using his rigid and detailed control of all theatrical elements, including the strict choreography of the actors' every gesture, in Stanislavski's words "the inner kernel of the play was revealed by itself". Analysing the Society's production of Othello, Jean Benedetti observes that:
Stanislavski uses the theatre and its technical possibilities as an instrument of expression, a language, in its own right. The dramatic meaning is in the staging itself. He went through the whole play in a completely different way, not relying on the text as such, with quotes from important speeches, not providing a 'literary' explanation, but speaking in terms of the play's dynamic, its action, the thoughts and feelings of the protagonists, the world in which they lived. His account flowed uninterruptedly from moment to moment.
Benedetti argues that Stanislavski's task at this stage was to unite the realistic tradition of the creative actor inherited from Shchepkin and Gogol with the director-centred, organically unified Naturalistic aesthetic of the Meiningen approach. That synthesis would emerge eventually, but only in the wake of Stanislavski's directorial struggles with Symbolist theatre and an artistic crisis in his work as an actor. "The task of our generation", Stanislavski wrote as he was about to found the Moscow Art Theatre and begin his professional life in the theatre, is "to liberate art from outmoded tradition, from tired cliché and to give greater freedom to imagination and creative ability."