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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

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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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Love the art in yourself, not yourself in the art.
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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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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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We have as many planes of speech as does a painting planes of perspective which create perspective in a phrase. The most important word stands out most vividly defined in the very foreground of the sound plane. Less important words create a series of deeper planes.
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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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You'll never see any two good actors approach a role in the same way.
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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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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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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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Play well, or play badly, but play truly.
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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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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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Don't go so deep in yourself that you no longer exist for your partner and for the character and for the play.
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The character has to have some kind of arch. The character has to go through an event, and be changed by the human event.
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Doubt is the enemy of creativeness.
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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.
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The language of the body is the key that can unlock the soul.
Constantin Stanislavski