Stanislawski, Konstantin Sergejewitsch

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Basic data

  1. January 17, 1863 in Moskau
  2. August 7, 1938 in Moskau
  3. Schauspieler, Regisseur

Iconography

(Source: Wikimedia)
Diagram of Stanislavski's system, based on his "Plan of Experiencing" (1935), showing the inner (left) and outer (right) aspects of a role uniting in the pursuit of a character's overall "supertask" (top) in the drama. (Source: Wikimedia)
Glikeriya Fedotova, a student of Shchepkin, encouraged Stanislavski to reject inspiration, embrace training and observation, and to "look your partner straight in the eyes, read his thoughts in his eyes, and reply to him in accordance with the expression of his eyes and face."[36] (Source: Wikimedia)
Stanislavski with his soon-to-be wife Maria Lilina in 1889 in Schiller's Intrigue and Love. (Source: Wikimedia)
Stanislavski as Othello in 1896. (Source: Wikimedia)
Vladimir Nemirovich-Danchenko, co-founder of the MAT, in 1916. (Source: Wikimedia)
Vsevolod Meyerhold prepares for his role as Konstantin to Stanislavski's Trigorin in the MAT's 1898 production of Anton Chekhov's The Seagull. (Source: Wikimedia)
Anton Chekhov (left), who in 1900 introduced Stanislavski to Maxim Gorky (right).[90] (Source: Wikimedia)
Design (by Nikolai Ulyanov) for Meyerhold's planned 1905 production of Hauptmann's Schluck and Jau at the Theatre-Studio he founded with Stanislavski, which relocated the play to a stylised abstraction of France under Louis XIV. Around the edge of the stage, ladies-in-waiting embroider an improbably long scarf with huge ivory needles. Stanislavski was particularly delighted by this idea.[104] (Source: Wikimedia)
Sugar and Mytyl from Stanislavski's production of The Blue Bird (1908). (Source: Wikimedia)
Stanislavski and Olga Knipper as Rakitin and Natalya in Ivan Turgenev's A Month in the Country (1909). (Source: Wikimedia)
Leopold Sulerzhitsky in 1910, who led the First Studio and taught the elements of the system there. (Source: Wikimedia)
Stanislavski as Famusov in the 1914 revival of Griboyedov's Woe from Wit. (Source: Wikimedia)
Stanislavski as General Krititski in Ostrovsky's Enough Stupidity in Every Wise Man. His performance was particularly admired by Lenin. (Source: Wikimedia)
From left to right: Ivan Moskvin, Stanislavski, Feodor Chaliapin, Vasili Kachalov, Saveli Sorine, in the US in 1923. (Source: Wikimedia)
Stanislavski's production of Mikhail Bulgakov's The Days of the Turbins (1926), with scenic design by Aleksandr Golovin. (Source: Wikimedia)
Sketches by Stanislavski in his 1929–1930 production plan for Othello, which offers the first exposition of what came to be known as his Method of Physical Action rehearsal process. (Source: Wikimedia)
Stanislavski at work in the final year of his life. (Source: Wikimedia)

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