Out line your present understanding of Stanislavski's system

Have a little read: ... Laura Hall Out line your present understanding of Stanislavski's system Konstantin Sergeivich Stanislavski was born in 1863 and dies in 1938. He was a Russian actor, director and acting trainer. In 1898 together with Nemirovich- Danchenko, he founded the Moscow Art Theatre. Stanislavski believed that theatre was about working together, he recognized the need to improve the theatre practice of his time and saw actors needed methods to help them act well and consistently. To solve these problems he developed what was later to be called The System. It was a rational process of techniques and exercises designed to train and develop the actor's skills. The areas Stanislavski believed were important to concentrate on included imagination, observation, creativity, physical and vocal skills and intellectual analysis. This system was perfected after thirty years of careful research, analysis and practical application. The main system was divided into two main areas. The first concerned the physical state of the actor, Stanislavski thought that the body was the actors instrument and just like a musicians instrument it needed attention and 'tuning'. Therefor the believed actors should be in good physical shape and have many physical skills. The second part was called the Psycho-technique and was concerned with the actor's mental state. Stanislavski thought that 'true' creativity occurred when unconscious memories, impulses and energy were released. Stanislavski then broke his system down into ten specific elements. These were; Units of action, Stanislavski required his actors to divide the text into what he called large 'units of action'. The idea was to help them perceive and understand the logical development of the text and find the core of the play. These large units were then given titles which defined their 'objectives' and were then sub-divided again into smaller units for ease of scene and character development in rehearsal. The superobjective, when deciding on the superobjective the cast simply had to come up with a simple sentence that summed up the significance of the play as a whole, taking into account their interpretations of the authors intentions. Stanislavski believed that this helped the actors focus on a key idea, which they were all contributing to through their role in the performance. Therefor he believed it was important that all of the actors involved in the production to know and agree on the superobjective. The method of physical actions, This idea grew from Stanislavski's feeling that his actors were being