ABSTRACT
The major demand Stanislavski made on art was that it should contain ideas. But he never considered giving living form to the idea of a dramatic work by cold, run-of-the-mill technique. He dreamed of a technique that could deal with genuine, human feelings and speak of genuine, human experiences and passions. Stanislavski, who had scaled the heights in his creative work as a director and an actor, was also remarkable in that he made a proper study of its basic laws. He created a method which opened up limitless possibilities for improving an actor’s technique, for personal growth and development, and so for growth and progress in the theatre as a whole. A character in a play is above all a man in action. The actor is called upon to give flesh and blood to the dramatic sequence of a character’s actions as written.
