ABSTRACT
There are many paths leading from the work of Konstantin Stanislavski. From the early days of the development of Stanislavski's system his students and colleagues took his ideas and exercises in different directions, some experimenting and furthering his practices, others reacting against them. So Stanislavski's legacy splintered as those that had worked with him spread his ideas in a multitude of different forms. This chapter focuses on exercises used by Michael Chekhov and Maria Knebel, leading onto examples of Kogan's work and ending with exercises used by Katie Mitchell. It provides students with a taste of the practices and ideas that developed beyond Stanislavski for them to further their skills, understanding and knowledge of 'post-Stanislavskian theatre'. The chapter is designed to support students whether they are in the last years of high school or first years at college and drama school.
