Glossary

An action is defined as a purposeful act of human behavior. Stanislavski states that an action is at the very core of the System. An action involves the actor's entire nature and instrument: mind, body, and soul. Therefore, a purposeful action is said to be psychophysical. Actions are executed and fulfilled in a truthful, logical and sequential order. A play is analyzed through improvisations on actions.

Stanislavski's ultimate technique developed during the last years of his life while sequesterd in his home both by illness and Marxists revisionists. Active Analysis refers to the rehearsal technique of analyzing a play "on one's feet"

through improvisation on Events and Actions. The process challenges the actor to ask and solve a series of problems by finding the most fitting task and action steps in order to bring about their resolution. The actions are found though a "dynamic" process of interaction based on the conflict and relationship between characters. By focusing on an active, as opposed to an intellectual/analytical process, actors achieve psychophysical integration. Integration makes possible transformation into character and the spontaneous arousal of appropriate emotions. Psychophysical integration also solves the problem of finding the expressive style of the play. Active Analysis It is the greatest achievement of The System.

The recall of past emotions and memories through the direct recall of the senses. Stanislavski borrowed this term from Theodule Ribot (1839-1916). During the early period of Stanislavski's experiments he speculated that actors could recall emotions from the past which are analogous to those required in a role. He had serious doubt about the use of direct recall of emotions and feared that it could lead to mental illness. He abandoned this "device" in favor of the use of the imagination, observation, study, empathy with character, and physical actions. Affective Memory was transformed by Lee Strasberg into "emotional memory" and used extensively by the "Method Actors" of the Actors Studio.

Refers to the complex process of finding and stiring emotions which are analogous to those required by the text. The emotions experienced on stage are called "secondary" as they are a "poetic reflection" of those experienced in the actor's personal life which are called ("primary emotions"). Direct emotional recall is NOT used as in "Method" acting. The emphasis is on a healthy fulfillment of appropriate physical actions derived from Active Analysis.

Civic Duty refers to the artist's social purpose. It was distored during the Marxist era in the Soviet Union to justify the use of theatre for propaganda purposes which Stanislavski bravely opposed. Today we have revived the term to mean an artist's contribution to the spiritual and cultural life of the community.

A technique or series of techniques and tools used to facilitate the creation of a role. Used by a director during the creative process of staging a play. The Method of Physical Actions and Active Analysis are "devices." Stanislavski insists that all devices must be psychophysical, having both "inner content" and "expressive artistic form." They must never be used mechanically.

The Dual Sperctives, also called the "Two Perspectives" refers to the state of consciousness where the actor places 95% to 98% of his/her attention on the role as character, and 5% to 2% as actor. The actor guides the character and sculpts the role along the "spine" of the play. The term also refers to the actor's ability to "sense" everyone and everything in the theatre, to be viewing himself from the 10th row of the audience while seemingly engaged in the perfornance. This state of consciousness is highly desirable, and most likely Stanislavski borrowed the "device" from Raja Yoga.

Emotional Memory

The reservoir of emotions stored within the human mind and body as both mental image pictures and chemical imprints along the nervous system. Closely associated with "Affective Memory" and "Sense Memory." Used as a "device" by American "Method" actors to call up emotions prior to going on stage. (Please see Analogous Emotional Experience.)

Literally, a "happening." Defines an "episode," or act within the structure of a play. The "event" is given a name: methaphor, noun, title, phrase, whatever will describe it best, for example: The Homecoming, Destruction, Reunion, etc.

Style, Manner. More precisely the playwrite's unique means of artistic expression which identifies his/her style. In the System we use the term "Genre" with the understading that each play must be created from scratch and that the "style" must be found organically, not imposed from the outside. We search for the truth of the human soul, and behavior which gives rise to truthful artistic expression within the imaginary "given circumstances" of the story.

The entire situation of the play and its surrounding environment, incluing the physical plant of the theatre, film studio, technicians, audience, the story and plot of the play. The actor and director analyze the "given circumstances" by asking a series of problem solving quesitons including: Who? What? When? Where? With Whom? What for? Why? and How?

The continuous, "self-talk" as the character, i.e., what the character is thinking when not speaking. Inner Monologue is directly connected to the subtext and unique language of the character. Composing the thoughts of the character by writing them down allows the actor to focus on "Inner objects," (Images). Creation of the correct Inner Monologue is a major step in the creation of the character's "Inner Life."

Term that Stanislavski gave to his later approach to work on a play and the training of actors. The technique is based on the actor being trained to execute a series of physical actions in logical sequence which evoke emotional response. By placing emphasis on the physical action the actor can repeat the sequence of action during performances without the use of direct emotional recall. The process also consists of a series of steps which explore the analysis of a text, building of a character, and staging of a play through experimentation, improvisation, trial and error, discussion, and physical actions. It is the broader aspect of Active Analysis. The two devices are so closely aligned that there is some argument as to which is which. The argument, however, is mute when one sees that Active Analysis is the conclusive development and refinement of The System. (See Active Analysis)

The ancient system of scientific spiritual practice originating in India. Yoga is a sanscrit word mean "connection" or "link". Its English etomology is "Yoke," as in to be linked. The purpose of the practice of Yoga is to achieve direct and continuous communion with God, also called "God-Realization" and "Self-Realization". (Realization of the "Self" refers to the giving up of one's small ego in exchange for complete absorption with the divine.) Yogi's achieve amazing states of concentration, physical endurance, and superconsciousness through the practice of Yoga's eight branches of self-discipline and practice, chief of which is Raja Yoga. (Raja Yoga incorporates key elements of all eight branches.)

Because of its "spiritual" origins it was censored in the former Soviet Union and dismissed by American editors. (For further information and documentation please see Stanislavski Bio, this site, also Stanislavsky in Focus, Carnicke.)