Stanislavsky method

or method acting

Influential system of dramatic training developed by the Russian actor, producer, and theoretician Konstantin Stanislavsky.

The method was developed over years of trial and error, beginning с 1898. It requires that an actor use his emotion memory (i.e., his recall of past experiences and emotions) to identify with the character's inner motivation. The technique was developed in reaction to the histrionic acting styles of the 19th century. Noted American practitioners began using the method in the 1920s; they have included Lee Strasberg, Marlon Brando, Dustin Hoffman, and Eli Wallach.

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▪ acting

also called  The Method, or Stanislavsky System,  

      highly influential system of dramatic training developed over years of trial and error by the Russian actor, producer, and theoretician Konstantin Stanislavsky. He began with attempts to find a style of acting more appropriate to the greater realism of 20th-century drama than the histrionic acting styles of the 19th century. He never intended, however, to develop a new style of acting but rather to codify in teaching and performing regimens the ways in which great actors always have achieved success in their work, regardless of prevailing acting styles.

      The method requires that an actor utilize, among other things, his emotional memory (i.e., his recall of past experiences and emotions). The actor's entrance onto the stage is not considered to be a beginning of the action or of his life as the character but a continuation of the set of preceding circumstances. The actor has trained his concentration and his senses so that he may respond freely to the total stage environment. Through empathic observation of people in many different situations, he attempts to develop a wide emotional range so that his onstage actions and reactions appear as if they were a part of the real world rather than a make-believe one.

      A risk in the Stanislavsky method is that, when role interpretation is based on the inner impulses of the performer, a scene may unexpectedly take on new directions. (This temptation was opposed by Stanislavsky himself, who demanded that the actor subordinate himself to the play.) Some directors are disposed against the method, seeing in it a threat to their control of a production. Many, however, find it especially useful during rehearsals in uncovering unsuspected nuances of character or of dramatic action.

      The method was widely practiced in the Soviet Union and in the United States, where experiments in its use began in the 1920s and continued in many schools and professional workshops, such as the prestigious Actors Studio in New York City.

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