ABSTRACT
Conservatism and the stuck-in-a-rut rehearsal formats, often prevent smart and talented people from drastically changing their rehearsal practice, although they can see the actor’s living feelings perish when fettered to the mechanical assimilation of the text. Stanislavski’s theoretical thesis can and must become a reality, but for this to happen it is necessary to seriously examine the changes he proposed to the practice of rehearsal. The basic idea of Stanislavski’s pedagogical approach lies in making an indissoluble connection between the text and the character’s thoughts, tasks and actions from the very start of rehearsals. Stanislavski suggests that the actor should first of all scrupulously work through the events and given circumstances of the play, so that they can get a clear grasp of the through-line of their behaviour. By analysing the role through action, and creating its ‘life of the human body’, the actor gradually discovers the truth of their own onstage existence.
