The table you see on the right (like this one) are for my sidenotes. I have to comment on my own pages in order to improve the.

Historical Comment:
I always hated Stanislavsky's writing, but I teach Method/System. Since I gave up on reading him long ago, you may consider my interpetation as my own brand. What is important that actor should have some tools for self-improvement and I ephasize self.

As a director I suffer seeing so many actors uncapable of working with themselves without being directed. I believe in self-directing and that is what I teach in Advanced Acting Classes.

Actors is an artist and every artist is always alone. The only help you can expect is from God and yourself. If lucky, from a director or instructor...

Discussion Lists:

3 Sisters


Dramatic Literature


He is not a director (read Chekhov's letter). He is a head-actor, master-actor -- the old tradition, when the most experienced and smartest teachs the new ones. There are no directors in cirus. Stanislavsky developed his system the under house arrest at the time when Moscow Art Theatre couldn't do anything besides socialist realism. a lot of Russian artists uder Stalin turned to theory in order to stay alive.

Stanislavsky (Alexeyev) wasn't an artist, but a craftsman. His method is not an invention but a discovery of what was used from the beginning of time. "Psychological realism" makes sense because only feelings are the reality. The only material I, the spectator, can use -- my own feelings, memories, experiences. So, Stanislavsky advises actor to do the same.

My dear actor!
Don't wait for your luck -- learn directing to manage yourself in order to direct others -- the public. That is what I do, when I direct shows -- I direct my feelings and thoughts.

When I write plays, I use the same method -- I become a character without forgetting myself. Of course, the character is "me" -- and more. "Identification" is a long word, but the only ground for dramatic experience. It's ME, who must be in the middle of action, I am on stage! Actor uses a role to extend his natural status of being a spectator. He makes an extra step by becoming a new being.

I wish I could have time to translate the best of the century's philosophy into theatrical terms. The existentialists defined it all -- being and becoming, becoming as being an so on. Theatre folks are too busy to read fat books, othewise they would know the philosophy behind the techniques.

Stanislavsky himself didn't read much and had no idea what Heidegger was writing. But all Russians read Nietzssche and a lot in the Russian Thought follows the tradition of the revolt against modernity and humanity.

Stanislavsky directed Chekhov's plays, didn't he? Chekhov is the great nihilist of all times, the one Nietzsche tried to fight. Chekhov is a demonstration of Neitzsche's paradox -- the conflict between Will To Power and the Eternal Return concept.

The Return annihilates TIME and paralizes WILL. It turns each of us in a babble, when we live in one and only world of SELF.

Obviously, Stanislavsky teaches to study this territory -- the self. Being is Becoming, nothing else. Only Becoming is Being. And here is where "will" is coming into action. It's Self-Willing, getting control over your own Self, known in acting theory is a mastery of emotions, body, voice, etc.

Theatre like everything else is about CONTROL and as every power it starts with the power over yourself. Actor is a master of his own moods! He is happy, when he commands himself to be happy. He is angry when he willing so. He is a creator of his feelings!

What a picture! What a spectacle to watch!

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