Stanislavski believed throughout his life the dictum that an actor should approach a role as directly as possible and then see if it " lives.

Stanislavski believed that if an actor completes the system, the desired emotion should be created and experienced.

Stanislavski believed that the truth that occurred onstage was different than that of real life, but that a ' scenic truth ' could be achieved onstage.

The Russian actor and theatre practitioner Constantin Stanislavski as Othello in 1896

* Michael Chekhov ( 1891 – 1955 ), Russian actor, director, and theorist, Anton's nephew and student of Stanislavski

In the Rasa method, empathetic " emotions are conveyed by the performer and thus felt by the audience ," in contrast to the Western Stanislavski method where the actor must become " a living, breathing embodiment of a character " rather than " simply conveying emotion.

This technique was based on the system devised by the Russian actor and director Constantin Stanislavski.

The method that was originally created and used by Constantin Stanislavski from 1911 to 1916 was based on the concept of emotional memory for which an actor focuses internally to portray a character's emotions onstage.

This approach was developed by Constantin Stanislavski ( 1863 – 1938 ), a Russian actor, director, and theatre administrator at the Moscow Art Theatre ( founded 1897 ).

The chart, made by Adler, lists all aspects of the actor and of performance that Stanislavski thought pertinent at the time.

Stanislavski, a man of institution, his own Moscow Art Theatre and its associated studios, was a great believer in formal ( and rigorous ) training for the actor.

To illustrate the difference between the two methods, Stanislavski has the actor ask himself, " What would I do if I were in this circumstance " while Strasberg adopted a modification, " What would motivate me, the actor, to behave in the way the character does?

Sanford Meisner ( August 31, 1905 – February 2, 1997 ), also known as Sandy, was an American actor and acting teacher who developed a form of Method acting ( based on the ' system ' of Constantin Stanislavski ) that is now known as the Meisner technique.

In 1934, fellow company member Stella Adler returned from private study with Stanislavski in Paris and announced that Stanislavski had come to believe that, as part of a rehearsal process, delving into one's past memories as a source of emotion was only a last resort and that the actor should seek rather to develop the character's thoughts and feelings through physical action, a concentrated use of the imagination, and a belief in the " given circumstances " of the text.

During this period, she learned that Stanislavski had revised his theories, emphasizing that the actor should create by imagination rather than memory.

Adler was the only American actor to study with Constantin Stanislavski.

" In the book Acting: Onstage and Off, Robert Barton wrote: " established the value of the actor putting himself in the place of the character rather than vice versa ... More than anyone else, Stella Adler brought into public awareness all the close careful attention to text and analysis Stanislavski endorsed.

He trained as an actor at the First Studio of the Moscow Art Theatre under Konstantin Stanislavski and his assistant Leopold Sulerzhitsky, where he was introduced to the ' system '.

Salvini's acting in Othello greatly inspired the young Russian actor Constantin Stanislavski, who saw Salvini perform in Moscow in 1882 and who would, himself, go on to become one of the most important theatre practitioners in the history of theatre.

Shchepkin's distinction between the ' actor of reason ' and the ' actor of feeling ' influenced the formation of the ideas about acting contained in the ' system ' devised by Constantin Stanislavski.

Konstantin Stanislavski called him " the only Russian tragic actor.

Schools will vary in their approach, but in North America the most popular method taught derives from the " system " of Constantin Stanislavski, which was developed and popularised in America by Lee Strasberg, Stella Adler, and others.

* Satirical songwriter Tom Lehrer's 1953 song " Lobachevsky " was based on a number that Kaye had done, about the Russian director Constantin Stanislavski, again with the affected Russian accent.

Brando was an avid student and proponent of Stella Adler, from whom he learned the techniques of the Stanislavski System.

It was derived from the ' system ' created by Constantin Stanislavski, who pioneered similar ideas in his quest for " theatrical truth.

Stella Adler, an actress and acting teacher whose fame was cemented by the success of her students Marlon Brando, Warren Beatty, and Robert De Niro, also broke with Strasberg after she studied with Stanislavski himself, the only Group Theatre teacher to do so, after he had modified many of his early ideas about acting.

Acting teachers whose work was inspired by Stanislavski include:

When Constantin Stanislavski, the seminal Russian theatre practitioner of the time, directed it in 1898 for his Moscow Art Theatre, the play was a triumph.

This approach was intended to facilitate the unified expression of the inner action that Stanislavski perceived to be hidden beneath the surface of the play in its subtext.

Stanislavski, however, was scathingly critical, particularly of his own performance as Mitrich.

Epic theatre was a reaction against other popular forms of theatre, particularly the naturalistic approach pioneered by Constantin Stanislavski.

Although Stanislavski was not the first to codify a system of acting, he was the first to take questions and problems of psychological significance and directly link them to acting practices.

Stanislavski attempted to create a system before psychology was widely understood and formalized as a discipline.

Later in his life, Stanislavski realized that a shift in technique was needed for actors to produce more realistic emotions before audiences but he never discredited the use of emotional memory if used cautiously.

The shift between concepts was a result of various observations made by Stanislavski.

Other American actors, however, did not follow Strasberg's Method, like Stella Adler who visited and was taught by Stanislavski himself.

There she was trained by Konstantin Stanislavski and his assistant Leopold Sulerzhitsky in the ' system '.

Though not all Method actors use the same approach, the " method " in Method acting usually refers to the practice, influenced by Constantin Stanislavski and created by Lee Strasberg, in which actors draw upon their own emotions and memories in their portrayals, aided by a set of exercises and practices including sense memory and affective memory.

Distinctly Modernist, and strongly influenced by Russian literature and by the ideas of Konstantin Stanislavski, their travels in Western Europe and later to Romania played a significant role in the dissemination of a disciplined approach to acting that continues to be influential down to the present day.

Vakhtangov was greatly influenced both by the theatrical experiments of Vsevolod Meyerhold and the more psychological techniques of his teachers, Konstantin Stanislavski and Leopold Sulerzhitsky, and the co-founder of the MAT Vladimir Nemirovich-Danchenko.

* Action ( theatre ), a principle in Western theatre practice first developed by Konstantin Stanislavski as part of his System of acting training

A portrait of Constantin Stanislavski by Valentin SerovThe modern theatre director can be said to have originated from the staging of elaborate spectacles of the Meininger Company, large scale theatre productions staged by Georg II, Duke of Saxe-Meiningen.

* 1995: Qui est là after texts by Antonin Artaud, Bertolt Brecht, Edward Gordon Craig, Vsevolod Meyerhold, Stanislavski and Motokiyo Zeami

Stanislavski arranged for the mainly Jewish Polish actors to be trained by Yevgeny Vakhtangov.

When Konstantin Stanislavski came to Paris and saw her acting, he offered to have her go back to Russia but Alexandra refused, remaining by Alexeieff ’ s side.

The eventual success of the play, both in the remainder of its first run and in the subsequent staging by the Moscow Art Theatre under Stanislavski, would encourage Chekhov to remain a playwright and lead to the overwhelming success of his next endeavor Uncle Vanya, and indeed to the rest of his dramatic oeuvre.

After the war, in 1947, Robert Lewis, Elia Kazan, and Cheryl Crawford founded the Actors Studio, where the techniques inspired by Stanislavski and developed in the Group Theatre were refined.

Produced by the Moscow Arts Theatre on December 18, 1902, Konstantin Stanislavski directed and starred.

There is a story of an actress who had once been in a play directed by Stanislavski.