The Stanislavsky system and its principles

Konstantin Sergeevich Stanislavsky is a man who founded the Moscow Art Theater and created a fundamentally new concept of acting. He devoted his ideas to more than one volume, and his books are still studied by representatives of theatrical professions. The method of Stanislavsky at the time of its creation was distinguished by the principle novelty, and now there is not a single acting school without it. He is considered a "base", necessary for any artist, even if he plays in a different style.

So, what is the Stanislavsky system? This is a series of exercises and principles on which to orient the actor to understand and penetrate into the essence of his role. On the basis of the Stanislavsky system, the so-called "school of experience" was created, not tolerating "meaningless inaction" on the stage. The system teaches you not to play, but to live the life of a character, immersing yourself in the proposed circumstances and believing them. Every line, every movement on the stage must be justified and go from within.

The Stanislavsky system offers a series of exercises for the development of acting skills and imagination. Most of them are based on how you can "deceive" your mind and believe in the proposed circumstances. Often, actors have to think out the life of characters and events not covered in the play. For example, if a person enters a room, then he must know from where and why he is entering. The viewer will not see this, but the actor must realize this. Did he come in from the street? What was the weather like? What did he do before he entered? Why did he come in? And so on. This helps to achieve naturalness on the stage and give action the meaning that is necessary in the "school of experience."

The Stanislavsky system requires the actor to give full play and presence. And this is not so easy to achieve. Also in the book "Ethics" Stanislavsky, he explains the basic principles of relations within the theater, which will help create the most favorable atmosphere for work.

In the process of creating the system, Stanislavsky had to solve a whole series of psycho-emotional problems. How to justify this or that remark? How to get rid of acting stamps and jokes? How to learn not to notice the auditorium?

The first two problems were solved with the help of internal motivation - the actor needs to evoke in himself that emotional state that will give rise to the necessary reaction of the body. It is best to observe the behavior of people in life and remember how they act in this or that situation. How does the mother meet her son? How does a girl confess love? How does a man hold back laughter? The problem with the auditorium Stanislavsky decided with the introduction of the "fourth wall" - an imaginary barrier that separates the scene from the audience. It is, as it were, a continuation of already existing scenery and closes space.

Stanislavsky's system is also trying to solve the problem with the relationship between characters and actors. After all, if the response emotions should be true, then it means that they must be caused by equally true impulses from the partner. Therefore, the system has a number of exercises for interaction on the stage.

The Stanislavsky system is a complex multi-level resource for developing actors. Of course, you can not learn to play, taking as a basis only one system, but everyone should have an idea about it, so as not to turn the theater into a demonstration of cliches and reading aloud.