Don't go so deep in yourself that you no longer exist for your partner and for the character and for the play. Constantin Stanislavski More Quotes by Constantin Stanislavski More Quotes From Constantin Stanislavski The person you are is a thousand times more interesting than the best actor you could ever hope to be. Constantin Stanislavski actors thousand interesting Never lose yourself on the stage. Always act in your own person, as an artist. The moment you lose yourself on the stage marks the departure from truly living your part and the beginning of exaggerated false acting. Therefore, no matter how much you act, how many parts you take, you should never allow yourself any exception to the rule of using your own feelings. To break that rule is the equivalent of killing the person you are portraying, because you deprive him of a palpitating, living, human soul, which is the real source of life for a part. Constantin Stanislavski exception-to-the-rule artist real All action in theatre must have inner justification, be logical, coherent, and real. Constantin Stanislavski theatre real action The life of a character should be an unbroken line of events and emotions, but a play only gives us a few moments on that line - we must create the rest to portray a convincing life. Constantin Stanislavski play giving character The actor must use his imagination to be able to answer all questions (when, where, why, how). Make the make-believer existence more definite. Constantin Stanislavski actors imagination use Create your own method. Don't depend slavishly on mine. Make up something that will work for you! But keep breaking traditions, I beg you. Constantin Stanislavski originality tradition break-up Remember this practical piece of advice: Never come into the theatre with mud on your feet. Leave your dust and dirt outside. Check your little worries, squabbles, petty difficulties with your outside clothing - all the things that ruin your life and draw your attention away from your art - at the door. Constantin Stanislavski doors life art The language of the body is the key that can unlock the soul. Constantin Stanislavski communication keys soul Never allow yourself externally to portray anything that you have not inwardly experienced and which is not even interesting to you. Constantin Stanislavski interesting Play well, or play badly, but play truly. Constantin Stanislavski wells theatre play What is important to me is not the truth outside myself, but the truth within myself. Constantin Stanislavski important When you're playing a character who's cruel, look for the places where he's kind. When you're playing a character who is unhappy, look for the places where he has a glint of merriment. Constantin Stanislavski unhappy character looks Who am I? What will I be? Why am I here? Where am I going? Constantin Stanislavski crafts In every physical action, unless it is purely mechanical, there is concealed some inner action, some feelings. This is how the two levels of life in a part are created, the inner and the outer. They are intertwined. A common purpose brings them together and reinforces the unbreakable bond. Constantin Stanislavski common-purpose philosophy two When an actor is completely absorbed by some profoundly moving objective so that he throws his whole being passionately into its execution, he reaches a state we call inspiration. Constantin Stanislavski actors inspiration moving The main difference between the art of the actor and all other arts is that every other [non-performing] artist may create whenever he is in the mood of inspiration. But the artist of the stage must be the master of his own inspiration, and must know how to call it forth at the hour announced on the posters of the theatre. This is the chief secret of our art. Constantin Stanislavski differences inspiration art Every person who is really an artist desires to create inside of himself another, deeper, more interesting life than the one that actually surrounds him. Constantin Stanislavski artist desire interesting You must be so thoroughly immersed in the given circumstances of the play, then you decide what it is at any given moment what that the actor wants. Constantin Stanislavski actors want play Love the art in yourself, not yourself in the art. Constantin Stanislavski love art Doubt is the enemy of creativeness. Constantin Stanislavski creativeness doubt enemy
