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 More Quotes by Constantin Stanislavski More Quotes From Constantin Stanislavski When we are on stage, we are in the here and now. Constantin Stanislavski here-and-now stage You'll never see any two good actors approach a role in the same way. Constantin Stanislavski roles actors two In the given circumstances you must be rooted in the play. Do not depart from the play. Don't cut yourself off from your partner in the scene, or partners. Constantin Stanislavski cutting scene play In the circle of light on the state in the midst of darkness, you have the sensation of being entirely alone... This is called solitude in public... During a performance, before an audience of thousands, you can always enclose yourself in this circle, like a snail in its shell... You can carry it wherever you go. Constantin Stanislavski circles light darkness Talent is nothing but a prolonged period of attention and a shortened period of mental assimilation. Constantin Stanislavski talent periods attention Our demands are simple, normal, and therefore they are difficult to satisfy. All we ask is that an actor on the stage live in accordance with natural laws. Constantin Stanislavski actors simple law Fear your admirers! Learn in time to hear, understand, and love the cruel truth about yourselves! Constantin Stanislavski admirer editors and-love The main factor in any form of creativeness is the life of a human spirit, that of the actor and his part, their joint feelings and subconscious creation. Constantin Stanislavski actors acting feelings In life we listen to other people. Listen with varying degrees of concentration and attention, right? Actors must learn to listen in a different way. Constantin Stanislavski degrees different people At times of great stress it is especially necessary to achieve a complete freeing of the muscles Constantin Stanislavski muscles achieve stress Unless the theatre can ennoble you, make you a better person, you should flee from it. Constantin Stanislavski theatre actors acting The direct effect on our mind is achieved by the words, the text, the thought, which arouse consideration. Our will is directly affected by the super-objective, by other objectives, by a through line of action. Our feelings are directly worked upon by tempo-rhythm. Constantin Stanislavski direct-effect mind feelings It is through you, actors, that the forces which are understood by millions and that tell of everything that is beautiful on earth, find expression. The forces which reveal to people the happiness of living in a widened consciousness and in the joy of creative work for the whole world. You, the actors of a theatre, which is one of the centres of human culture, will never be understood by the people if you are unable to reflect the spiritual needs of your time, the now in which you are living. Constantin Stanislavski expression spiritual beautiful The theatre infects the audience with its noble ecstasy. Constantin Stanislavski ecstasy noble theatre It is only when an actor feels that his inner and outer life on the stage is flowing naturally and normally, in the circumstances that surround him, that the deeper sources of his subconscious gently open, and from them come feelings we cannot always analyse. Constantin Stanislavski source actors feelings In spite of my great admiration for individual splendid talents I do not accept the star system. Collective creative effort is the root of our kind of art. That requires ensemble acting and whoever mars that ensemble is committing a crime not only against his comrades but also against the very art of which he is the servant. Constantin Stanislavski stars roots art Remember: there are no small parts, only small actors. Constantin Stanislavski actors acting remember A true priest is aware of the presence of the altar during every moment that he is conducting a service. It is exactly the same way that a true artist should react to the stage all the time he is in the theater. An actor who is incapable of this feeling will never be a true artist. Constantin Stanislavski acting artist feelings The character has to have some kind of arch. The character has to go through an event, and be changed by the human event. Constantin Stanislavski arches events character In the language of an actor, to know is synonymous with to feel Constantin Stanislavski actors language feels
