ABSTRACT
Stanislavski considered classes in diction, voice placement, movement and eurhythmics to be of utmost importance at the studio. His insistence on the actors mastering their physical apparatus was enormous. Stanislavski places enormous importance on the external techniques: on voice, diction, an ability to mould a word, or a phrase – on the art of speech as a whole, as well as on the plastic arts: movement, gait, etc. Stanislavski was exceptionally alert to every single defect in actor’s diction and persevered in establishing clear and precise pronunciation, and correcting sound deficiencies and abnormalities. Stanislavski attributed exceptionally high significance to every possible gradation of stress. He spoke not only of the intensity of a stress but also of its quality, identifying a variety of shades. He spoke of the importance of whether the stress came down, whether it landed heavily or lightly, whether it lingered for a while, or fell down and was instantly removed.
