The verbal text of a play, especially one by a genius, is the manifestation of the clarity, the subtlety, the concrete power to express invisible thoughts and feelings of the author himself. Inside each and every word there is an emotion, a thought, that produced the word and justifies its being there.

— Konstantin Stanislavski

Konstantin Stanislavski Quotes

Success is transient, evanescent. The real passion lies in the poignant acquisition of knowledge about all the shading and subtleties of the creative secrets.

— Konstantin Stanislavski

The character has to have some kind of arch. The character has to go through an event, and be changed by the human event.

— Konstantin Stanislavski

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.

— Konstantin Stanislavski

At times of great stress it is especially necessary to achieve a complete freeing of the muscles.

— Konstantin Stanislavski

In talking about a genius, you would not say that he lies; he sees realities with different eyes from ours.

— Konstantin Stanislavski

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.

— Konstantin Stanislavski

Doubt is the enemy of creativeness.

— Konstantin Stanislavski

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.

— Konstantin Stanislavski

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.

— Konstantin Stanislavski

You must be so thoroughly immersed in the given circumstances of the play, then you decide what it is that the actor wants at any given moment.

— Konstantin Stanislavski

Don’t go so deep in yourself that you no longer exist for your partner and for the character and for the play.

— Konstantin Stanislavski

All art is autobiographical – if it’s not, it’s not going to quicken on-stage, and it’s not going to come alive.

— Konstantin Stanislavski

I was born an ordinary actor. I will die an ordinary actor. But I’ve persisted.

— Konstantin Stanislavski

Gratuitous cruelty borders on the pathological, psychotic and that becomes uninteresting because there is no choice.

— Konstantin Stanislavski

Everyone at every minute of his life must feel something. Only the dead have no sensations.

— Konstantin Stanislavski

The actor does not live, he plays. He remains cold toward the object of his acting but his art must be perfection.

— Konstantin Stanislavski

The verbal text of a play, especially one by a genius, is the manifestation of the clarity, the subtlety, the concrete power to express invisible thoughts and feelings of the author himself. Inside each and every word there is an emotion, a thought, that produced the word and justifies its being there.

— Konstantin Stanislavski

It is not enough to discover the secret of a play, its thought and feelings – the actor must be able to convert them into living terms.

— Konstantin Stanislavski

If you speak any lines, or do anything, mechanically, without fully realizing who you are, where you came from, why, what you want, where you are going, and what you will do when you get there, you will be acting without imagination. That time, whether it will be short or long, will be unreal, and you will be nothing more than a wound-up machine, an automation.

— Konstantin Stanislavski

You should first of all assimilate the model. This is complicated. You study it from the point of view of the epoch, the time, the country, condition of life, background, literature, psychology, the soul, way of living, social position, and external appearance; moreover, you study character, such as custom, manner, movements, voice, speech, intonations, All this work on your material will help you permeate it with your own feelings. Without all this you will have no art.

— Konstantin Stanislavski
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