Recently
there have been hot discussions in the academic theatre community concerning
what parts of Stanislavski’s work are the most important, what the translators
missed, what Stan really meant, whether to spell his name ‘Stanislavski’ or ‘Stanislavsky’,
and other issues!
I
find all of this to be a never-ending rabbit hole of discussion. It is becoming
far more like the disputes raging among religionists than an admittedly
unfinished and practical guide to the actor’s work. Frankly, I believe that
searching for what Stan meant is somewhat irrelevant owing to the enormous
cultural, linguistic, and historical differences between our time and his,
including but not limited to the prohibitions dictating physical interaction
between people, especially men and women.
Certainly
every actor and director should have read all of Stanislavski’s writing.
They
are the basis of almost all current directing and acting theory. However, the
books should be viewed In the same way old cookbooks that are read by chefs who
then adapt the recipes to today’s food, technology, and cultural tastes, or as
the writings of Euclid are still used by mathematicians. The principles remain
while the methods change.
I have made my own peace with Stan's work and I
focus on (1) the given circumstances which include sense memory, imagination,
and so forth, (2) the primacy of action as interaction over ingoing self
involvement, (3) character emergence rather than conscious creation. This
is my choice and while there may be many roads to Mecca, this one is mine.
My training and rehearsal methods use extreme
physical interaction to unearth primal needs. I suspect that if Stan could have
access to people who were really free to move and explore without undue
restraint, he would have gone much further with the concept of action.
Additionally, the new and amazing neuroscientific
brain research examining memory, learning, and the biology of action and
emotion were not available to him at all. Why would we continue to work in a
way uninformed by almost a century of investigation into what makes us human
and how we function?
We can be sure that Stanislavski would be pressing
his head against the laboratories and reading the Neuroscientific Journal in
order to move ahead in perfecting his approach to acting and directing.