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	Literary Encyclopedia: Stanislavsky, Konstantin
		Stanislavski's response was to shift the emphasis from over-complex detail (still favoured by Nemirovich) to another aspect of staging which had always interested him – the creation of the mood within which the actors could work, and the physical manifestations of that mood within the actor.
		Stanislavski began writing down his techniques as early as 1906, but the emphasis was constantly changing within his work, and it was not until much later in his life that The System took on a coherent form.
		It is likely that Stanislavski's concern with the external as well as the internal form of a character had a lot to do with the tendency of his actors to employ empty theatrical gesture in their work, in a way which seemed to preclude psychological or emotional truth.
	www.litencyc.com /php/speople.php?rec=true&UID=4192 (2598 words)

	Stanislavski
		His process of character development, the "Stanislavski Method", was the catalyst for method acting- arguably the most influential acting system on the modern stage and screen.
		Stanislavsky was born Konstantin Sergeyevich Alexeyev in Moscow on January 5, 1863, amidst the transition from the feudal serfdom of Czarist Russia under the rule of Peter the Great, to the free enterprise of the Industrial Revolution.
		Using this system, Stanislavski succeeded like no producer or director before him in translating the works of such renowned playwrights as Chekov and Gorki, whose writings were aptly suited to his method.
	www.kryingsky.com /Stan/Biography/bot.html (1078 words)

	American Masters . Constantin Stanislavsky \| PBS
		The Stanislavsky System, or "the method," as it has become known, held that an actor’s main responsibility was to be believed (rather than recognized or understood).
		Stanislavsky believed that an actor needed to take his or her own personality onto the stage when they began to play a character.
		Later Stanislavsky concerned himself with the creation of physical entries into these emotional states, believing that the repetition of certain acts and exercises could bridge the gap between life on and off the stage.
	www.pbs.org /wnet/americanmasters/database/stanislavsky_c.html (411 words)

	DR-Glossary3 (Site not responding. Last check: 2007-10-21)
		Stanislavski created a performance technique that had an enormous effect on contemporary American acting, and he developed a system of actor training that became widely accepted throughout the world.
		Stanislavski was born Konstantin Sergeyevich Alekseyev in Moscow.
		Stanislavski discovered that actors who recalled their own feelings and experiences and substituted them for those of their characters were able to achieve a special link with the audience.
	www.fb10.uni-bremen.de /anglistik/kerkhoff/ContempDrama/DR-Glossary3.htm (4866 words)

	[No title]
		And Stanislavsky makes it clear that what he means by truth is the truth of the actor's feelings and sensations, the truth of the inner creative impulse which is striving to express it.
		Stanislavsky's concepts are original and they continue to exert powerful influence on the theory and practice of theatre.
		The second aspect of the contradiction is the conflict between Stanislavsky's insistence on the creativity of acting and the strict adherence to the already given text of the playwright.
	lchc.ucsd.edu /MCA/Mail/xmcamail.2001_01.dir/att-0152/01-theatre.txt (7174 words)

	[No title]
		Stanislavsky's work at the MAT in the decade before the Revolution continued to attract the young urban intelligentsia especially students and the educated clerks, while Meyerhold's audience was composed of the cultural elite of St Petersburg enthralled by avant garde.
		Stanislavsky, on the other hand, remained aloof from the Bolsheviks and did not succumb to producing Soviet plays until the middle of the decade when the Bolshevik power was firmly established, and after the Revolution he continued to produce plays in the realistic style, unaffected by the prevailing aesthetic views of the avant-garde.
		Stanislavsky drafted a plan for the new Union of Moscow Artists in which he expressed the view that all theatres should take a non political stance and that their task was to preserve the Russian cultural heritage and hand it on as a living form to the people.
	rutheater.home.att.net /stana.htm (16982 words)

	Constantin Sergeyevich Stanislavsky: Inventor Method Acting - Associated Content
		When Stanislavsky was merely fourteen, he joined a well-known theatrical group which was centrally organized and run by his immediate family and he soon became one of the group's most notorious members.
		Stanislavsky also believed that the actor's own personality and emotions were imperative to his or her ability to act.This was a far cry from previous methods of acting that encouraged actors to completely emotionally transform themselves into the character and abandon their own feelings and emotions.
		Stanislavsky believed that the ability to ‘recall' ones own emotions relating to a similar experience or feeling gave the actor the ability to bring the character's emotions to life and therefore offer the character a better sense of overall plausibility and realness.
	www.associatedcontent.com /article/12519/constantin_sergeyevich_stanislavsky.html (347 words)

	Stanislavsky House-Museum in Moscow, Russia
		Housed in the grandiose Neo-classical mansion where the ailing Konstantin Stanislavsky spent the last 17 years of his life, the museum details the life and theatrical contributions of the famous Russian actor, director and producer.
		Stanislavsky regarded the theater as an art of social significance, capable of wielding a powerful influence on people and he saw the actor as taking a vital educating role whilst on stage.
		He finally formulated the "Stanislavsky Method", which amongst other elements, encouraged actors to become physically and psychologically involved in the emotions of the characters they were playing on stage.
	www.moscow-taxi.com /museums/stanislavsky-museum.html (428 words)

	Stanislavsky on Home Ground - The World and I Magazine
		Stanislavsky had been a rebel in his day, seeking a new theatrical truthfulness in the face of the artificialities of nineteenth-century melodrama.
		One of the most newsworthy features of the Stanislavsky symposium was the director's brief return to the Taganka to direct a revival of his adaptation of Boris Mozhayev's The Man Alive, banned for twenty-one years, and a new production of a Pushkin short story, A Feast in the Time of the Plague.
		Stanislavsky bore witness to the fact that the theater need not be trivial or just an urban diversion.
	www.worldandi.com /public/1989/july/ar2.cfm (2384 words)

	ARTicles: Moscow's First Vanya
		Stanislavsky and Nemirovich, who co-directed the production as part of their first season, held twenty-six rehearsals – a significant improvement from the paltry ten rehearsals in St. Petersburg.
		Stanislavsky, in contrast, was more concerned with the visual, physical, and aural life of the production.
		Uncle Vanya is crying, but Astrov whistles!" Stanislavsky got no further explanation from Chekhov, but he immediately integrated the new stage direction into his performance, interpreting it, or perhaps misinterpreting it, as Astrov's loss of faith in humanity.
	www.amrep.org /articles/1_1/first.html (1364 words)

	Stanislavsky braves The Cherry Orchard
		Stanislavsky was already self-conscious when he began directing Chekhov's The Cherry Orchard, which went up in 1904 at the Moscow Art Theatre.
		Stanislavsky was also self-doubting due to having played Brutus in their much-criticized, dubbed "leaden", production of Julius Ceasar in 1903 (Braun 36).
		Stanislavsky includes in this Act, an "...improvised luncheon in which newspaper is used for plates and at which Firs officiates as if at a banquet (315; CO 10).
	newmedia.cgu.edu /stageart/sullivan/stan.html (902 words)

	Method Acting for Directors
		Stanislavsky was big and handsome, he was an actor -- and everything he did as a director was to help himself and other actors to act.
		Stanislavsky was lucky, necause at the time, when he dreamed about new forms of theatre, Russia experienced the fastest in its history economic development.
		Stanislavsky was smart and went into deep theatry, dying in his own Moscow bed, instead of Siberia.
	method.vtheatre.net /title.html (2714 words)

	175.775 Narrative Perspective: Dramaturgy [14] (Site not responding. Last check: 2007-10-21)
		Further, the very process by which he came to that knowledge became, for Stanislavsky, a template for others: preparation for acting requires a kind of interior journey and a "working through" the layers of knowledge and the subconscious to achieve a new kind of growth and personal expression (see Note 1).
		In the aftermath of his 1906 reflections, he discovered that a primary mistake in his own acting had been to use other great actors and their performances as exemplars to be imitated closely.
		Like Stanislavski also Freud tried to evoke the actual experience of the subject but also he preferred intensive experiences of the past to the moment--for a different application however--to the treatment of mental disturbances.
	therapy.massey.ac.nz /diplomademo/175775/175_775_Dramaturgy.htm (4346 words)

	Russian culture navigator
		Stanislavsky was an amateur actor and a prosperous industrialist, Nemirovich-Danchenko a well-known man of letters, dramatist and producer.
		Stanislavsky recalled: "All the theaters had red curtains imitating velvet with gold tassels.
		Stanislavsky valued the work of designers, and scenography became an essential part of all performances.
	www.vor.ru /culture/cultarch43_eng.html (1658 words)

	Stanislavsky's Business System - PRAVDA.Ru
		Later Stanislavsky told that although he felt very tired after his tour abroad with a view to obtain knowledge about gold thread spinning, he couldn't refuse to go to a tour with the theatre troupe.
		Stanislavsky had enough time to be efficient everywhere, in the theatre and at the factory.
		Stanislavsky acted on the stage and staged great plays; he learnt theatrical experience from stage masters and considered a lot of issues connected with theatre.
	english.pravda.ru /science/19/95/380/9761_stanislavsky.html (1845 words)

	Constantin Stanislavsky Biography / Biography of Constantin Stanislavsky Biography Biography
		Constantin Stanislavsky was born Constantin Sergeyevich Alexeyev on Jan. 18, 1863, in Moscow.
		His stage name, Stanislavsky, was taken from an actor whom he met in amateur theatricals.
		Stanislavsky's excellent classical education included singing, ballet, and acting lessons as well as regular visits to the opera and theater.
	www.bookrags.com /biography-constantin-stanislavsky (241 words)

	NPR : Part 1: The Stanislavsky System
		Stanislavsky set out to create what he called a "believable truth" onstage.
		Stanislavsky closely observed the best actors of the day and developed exercises and techniques based on those observations.
		Stanislavsky's "system," as he called it, transformed acting in his native Russia.
	www.npr.org /templates/story/story.php?storyId=4509626 (273 words)

	STS Home
		The festival is organized and co-sponsored by the historic State Academic Volkov Theater of Yaroslavl, which carries the title of the first professional theater company in Russia.
		Stanislavsky Theater Studio wants to personally thank the Director of the
		Elizabeth J. McCormack, an Associate at the Rockefeller Family and Associates.
	www.sts-online.org (138 words)

	Ballet Stars of Moscow' Theatres Company
		He was then admitted to the Stanislavsky and Nemirovich-Danchenko Moscow Academic Theatre of Music where he performed solo and main parts at the ballets "Romeo and Juliet" (Mercuzio), "Swan Lake" (Jester), "Giselle" (classical duet) and others.
		Graduated from the Ballet Academy in 1993, she was invited to dance with the Stanislavsky Theatre Ballet where she has performed Odette/Odile in «Swan Lake», Kitri in «Don Quixote», Masha in «Nutcracker», Cinderella in «Cinderella», The Sylphide in «La Sylphide», and other principal roles.
		Vitaly Breoussenko was born in 1969 in Priluki, Ukraine, and graduated from the Kiev Academic Choreographic School in 1988.
	www.aha.ru /~vladmo/stars1.html (1305 words)

	Stanislavsky Theatre Studio (Site not responding. Last check: 2007-10-21)
		The Stanislavsky Theater Studio is presenting the piece in collaboration with the Arts Council of Northern Ireland and the Department of Culture, Arts and Leisure of Belfast, but the entire production is "under the gracious patronage" of the Ambassador of the Russian Federation.
		The Stanislavsky Theater Studio takes pains to point out that this solo performance piece is “experimental theater,” as if what the STS has been offering since it took up residence at the Church Street Theater has been merely traditional theater.
		The Stanislavsky Theater Studio, being a true theater company with stability in its membership, revives the piece this season so theatergoers again have the opportunity to discover her work.
	www.potomacstages.com /StanislavskyArchive.htm (5560 words)

	Stanislavsky System @ Theatre w/Anatoly
		Stanislavski survived both the 1905 Revolution and the 1917 one, apparently Lenin intervened to protect him.
		Stanislavsky: «A true priest is aware of the presence of the altar during every moment that he is conducting a service.
		One the myths is that Stanislavsky asks actors for so much work for nothing and that's why Biomechanics (Meyerhold) actors called the Method "emotional masturbation" -- but if you did follow my advise and imagined yourself writing your character's words, you should discover that most of it won't be on paper.
	www.vtheatre.net /acting/system.html (2348 words)

	Stanislavsky method -- Encyclopædia Britannica
		Stanislavsky was not an aesthetician but was primarily concerned with the problem of developing a workable technique.
		It is one of the leading centres for the Stanislavsky method of dramatic training.
		This method, pioneered by Russian actor and producer Konstantin Stanislavsky, encourages actors to use their emotional experiences and memories in preparing to “live” a role.
	www.britannica.com /eb/article-9069413 (761 words)

	anton chekhov and the 1905 revolution (Site not responding. Last check: 2007-10-21)
		Stanislavsky was not convinced, concerned that the new play would prove to be "something impossible on the weirdness and vulgarity of life.
		By early 1903, Chekhov was firmly established at the MAT as its leading playwright and literary star.
		Thus was born the first theater in Russia relatively free of the tight grip of restrictions Czar Nicholas II's Imperial Theater Committee held the state-run theaters in (Rayfield, 456).
	www.theater2k.com /ChekhovEssay2.html (3708 words)

	Sharon Carnicke Publications
		"Stanislavsky in the West." Penn State University, a series of three lectures sponsored by the Departments of Theatre Arts, Slavic, English and Comparative Literature and the Institute for the Arts and Humanities Studies, November 1991.
		"Stanislavsky at the Moscow Art Theatre from 1970 to 1990." Invited paper for panel on "Stanislavsky's Influence in Russia, 1920-1990," Association for Theatre in Higher Education (ATHE), Seattle, August 1991.
		Joyce Vining Morgan, Stanislavski's Encounter with Shakespeare: The Evolution of a Method in The Slavic and East European Journal, XXIX:4 (1985).
	www.usc.edu /dept/las/sll/carnicke/carnicke_publications.htm (2169 words)

	An Introduction to the Stanislavsky Ballet
		In 1897, Konstantin Stanislavsky and Vladimir Nemirovich-Danchenko met at the Slavyansky Bazaar restaurant in Moscow for a lunch that began on June 22 and ended 18 hours later at the Stanislavsky family estate of Lyubimovka near the capital.
		Stanislavsky formed another center in 1926, the Opera Studio, an offspring of the famous Bolshoi Theater in Moscow.
		In a remarkable move, Krieger melded Stanislavsky's system of acting with her ballet productions, encouraging the dancers in her company to be not only superlative dancers but actors as well.
	artsedge.kennedy-center.org /exploring/ballet/stan/stanintro.html (459 words)

	deseretnews.com \| Stanislavsky Ballet plans romantic favorites (Site not responding. Last check: 2007-10-21)
		The foundations of the Moscow Stanislavsky Ballet were laid in 1929 by former Bolshoi Ballet artist Victorina Krieger when she formed the Moscow Art Ballet Company.
		She was influenced by the Moscow Art Theatre, which was established in 1918 by Russian actor/director/producer Konstantin Stanislavsky and writer/director Vladimir Nemirovich-Danchenko.
		Krieger's dancers adopted Stanislavsky's theory of "method acting," which required the actors to fully immerse themselves in a role.
	deseretnews.com /dn/view/0,1249,405011511,00.html (572 words)

	Method Acting Class in Houston 713 532 2867
		Stanislavsky Method is taught at Next Actor through scenes and exercises in order to make you, the actor, a superior performer in front of the camera and on-stage.
		Stanislavsky worked on honing his theories with the Moscow Art Theatre, and when the group performed in America in the early 1920s, those theories captured the fancy of the theater world.
		A young Lee Strasberg, whose name has since become synonymous with method acting, was enamored of Stanislavsky's ideas.
	www.nextactor.com /Stanislavsky.htm (304 words)

	Stanislavsky and Nemirovich-Danchenko Moscow academic Music Theater: History
		The Stanislavsky and Nemirovich-Danchenko Moscow Music Theatre was founded in 1941 when two companies directed by the legendary reformers of twentieth-century theatre — Konstantin Stanislavsky and Vladimir Nemirovich-Danchenko — were merged: the Stanislavsky Opera Theatre (established at the end of 1918 as an Opera Studio of the Bolshoi Theatre) and the Nemirovich-Danchenko Music Theatre (set up in 1919 as a Studio of the Moscow Art Theatre).
		Stanislavsky and Nemirovich-Danchenko trained the young singers as «ldquo;singing actors»rdquo;, so they were able to portray the most complex characters, making the audience follow their story with absorbing interest.
		The resident conductors of the Stanislavsky and Nemirovich-Danchenko Music Theatre are Wolf Gorelik, Ara Karapetyan, Felix Korobov and Maria Maximchuk, who specialize on opera and Georgy Zhemchuzhin and Vladimir Basiladze who conduct mostly the ballet performances.
	www.stanislavskymusic.ru /english/about/history (1390 words)

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