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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

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Constantin Stanislavski
Age: 75 †
Born: 1863
Born: January 5
Died: 1938
Died: August 7
Actor
Director
Film Director
Pedagogue
Stage Actor
Teacher
Theatrical Director
Theatrologist
Moscow
Russian SFSR
Konstantin Stanislavskij
Konstantin Sergeievich Stanislavski
Constantin Stanislavski
Konstantin Stanislavsky
Konstantin Sergeyevich Stanislavski
Open
Surround
Actors
Naturally
Analyse
Feelings
Deeper
Gently
Cannot
Inner
Flowing
Come
Circumstances
Outer
Feels
Actor
Subconscious
Always
Source
Normally
Life
Stage
Sources

More quotes by Constantin Stanislavski

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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.
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In talking about a genius, you would not say that he lies he sees realities with different eyes from ours.
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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.
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Love the art in yourself, not yourself in the art.
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In the language of an actor, to know is synonymous with to feel
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The language of the body is the key that can unlock the soul.
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Play well, or play badly, but play truly.
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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.
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When we are on stage, we are in the here and now.
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The actor must use his imagination to be able to answer all questions (when, where, why, how). Make the make-believer existence more definite.
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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.
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Never allow yourself externally to portray anything that you have not inwardly experienced and which is not even interesting to you.
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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.
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You'll never see any two good actors approach a role in the same way.
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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.
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In the creative process there is the father, the author of the play the mother, the actor pregnant with the part and the child, the role to be born.
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Gratuitous cruelty borders on the pathological, psychotic and that becomes uninteresting because there is no choice.
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Young actors, fear your admirers! Learn in time, from your first steps, to hear, understand and love the cruel truth about yourselves. Find out who can tell you that truth and talk of your art only with those who can tell you the truth.
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I have taken film-work that has been a little more cliché-written, to support myself and my family, and that's a whole kind of other challenge. It's like chopping wood: You've got to take what you can get and bless what withstands you. But in theatre! There's enough great theatre that you can find something interesting!
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I was born an ordinary actor. I will die an ordinary actor. But I've persisted.
Constantin Stanislavski