ABSTRACT
This conclusion presents some closing thoughts on concepts covered in the preceding chapters of this book. The Russians re-encountering of their theatrical pioneer, since the collapse of the Iron Curtain and beyond, has led to a re-evaluation of the understanding of Stanislavsky in the West. Stanislavsky has an indescribable effect on international acting, misunderstood and marginal in contemporary British practice. The standard of British acting is less than its international reputation warrants. It's just that the present-day acting climate in Britain often puts actors in an untenable position. The most British practitioners have come across 'An Actor Prepares' by title, if not by content. Peter McAllister pointed out, there's a general emotional conservatism in British actors in comparison to our American and European counterparts. The emphasis in Active Analysis is on acting, doing, experiencing, and heart of acting via a more direct route it's emotional without bringing out 'dirty laundry', intellectual without scaring off the anti-eggheads.
