Stanislavski was shown the ropes at an early age when he joined a family friends theatre group.

Due to the fact that he was born into a wealthy family of merchants, Konstantin Sergeievich Alekseiv, had to begin his service to the family business, but soon realized that nothing could overpower his love for theatre. Stanislavski's pioneering vision for the theatre was that

characters should be believable. He argued that anything put forward on the stage should be an accurate account of real life, a thought which derived from his distaste for the melodramatic theatre he had grown up with. There are several theories prevailing about theatre. One of them was the idea of Epic theatre by Bertolt Brecht which said that the audience should be alienated from the onstage action whereas Antonin Artaud said that the audience should be deeply affected by the performance. these conflicting theories became the beginning of the main ideas behind this project. In order to see which of these were effective in terms of creating an effect on the audience, I needed to conduct deeper research into Stanislavski system.
The most significant of his achievements was his development of a successful 'system of method acting'; a way to teach, practice, correct and monitor the 'method': a pragmatic way of acting that created and acknowledged the internal motivations and feelings of a character, leading to a realistic performance.

One of the most prominent aspects of Stanislavski's method is his idea that any character in any play has a 'Super-Objective' throughout the action; an aim or driving force which sustains throughout the play. Stanislavski taught that this Super-Objective must stay in each actor's mind throughout their rehearsal and performance, and that even though it may not be stated, or even obvious, they must take it upon themselves to research and discover it.
The exercise Stanislavsky developed for relaxation is meant to help the actor find hidden tension in all muscles of the body, most importantly the face, where most mental tension manifests itself. The exercise begins with the actor sitting in a straight backed, armless chair. First, the actor must find the position that he or she would be most likely to sleep in, if absolutely necessary. Then, starting with the fingers and working all the muscles in sequence, finding the tension hiding in each muscle, and will the muscle to relax.

Stanislavski put a massive emphasis on the importance of research into the given time period or situation so that the performer would truly understand their role. Given circumstances can relate to either the character or the play itself, and they include things like character's age, gender, social class, and the play's time period, setting and social/historical/political implications.

The next exercise in the method is called Sense Memory. It is basically each of the five senses remembering the sensory impressions experienced in everyday life. The sense memory exercise trains an actors senses to react onstage as they do in real life. By pulling events from an actors past, the actor. The exercise continues this way until the actor has asked every question that he can think of, for each of the five senses.

Emotional Memory requires the actor to draw on previous personal experiences which resulted in a similar emotion to which their character is experiencing.
After performing all of these exercises, the actor picks up his script, and reads it again for inspiration. The best starting point of looking for inspiration would be what Stanislavsky called the magic if. The magic if asks the actor ask What would I do if I were in these circumstances? The magic if allows the actor to play make believe, it makes them realize that they are living a fictional life that they must make real to themselves. The most fundamental principle of Stanislavski's teaching is that the actor must live the life of the character that he is portraying, he must learn to think like the character and behave like the character, to become the character both physically and mentally. This, he believed, is the only way to achieve total realism. He was a revolutionary, protesting against the old manner of acting and against the traditional arrangement of plays.

Stanislavski was shown the ropes at an early age when he joined a family friends theatre group. Due to the fact that he was born into a wealthy family of merchants, Konstantin Sergeievich Alekseiv, had to begin his service to the family business, but soon realized that nothing could overpower his love for theatre. Stanislavski's pioneering vision for the theatre was that characters should be believable. He argued that anything put forward on the stage should be an accurate account of real life, a thought which derived from his distaste for the melodramatic theatre he had grown up with. There are several theories prevailing about theatre. One of them was the idea of Epic theatre by Bertolt Brecht which said that the audience should be alienated from the onstage action whereas Antonin Artaud said that the audience should be deeply affected by the performance. these conflicting theories became the beginning of the main ideas behind this project. In order to see which of these were effective in terms of creating an effect on the audience, I needed to conduct deeper research into Stanislavski system. The most significant of his achievements was his development of a successful 'system of method acting'; a way to teach, practice, correct and monitor the 'method': a pragmatic way of acting that created and acknowledged the internal motivations and feelings of a character, leading to a realistic performance. One of the most prominent aspects of Stanislavski's method is his idea that any character in any play has a 'Super-Objective' throughout the action; an aim or driving force which sustains throughout the play. Stanislavski taught that this Super-Objective must stay in each actor's mind throughout their rehearsal and performance, and that even though it may not be stated, or even obvious, they must take it upon themselves to research and discover it. The exercise Stanislavsky developed for relaxation is meant to help the actor find hidden tension in all muscles of the body, most importantly the face, where most mental tension manifests itself. The exercise begins with the actor sitting in a straight backed, armless chair. First, the actor must find the position that he or she would be most likely to sleep in, if absolutely necessary. Then, starting with the fingers and working all the muscles in sequence, finding the tension hiding in each muscle, and will the muscle to relax. Stanislavski put a massive emphasis on the importance of research into the given time period or situation so that the performer would truly understand their role. Given circumstances can relate to either the character or the play itself, and they include things like character's age, gender, social class, and the play's time period, setting and social/historical/political implications. The next exercise in the method is called Sense Memory. It is basically each of the five senses remembering the sensory impressions experienced in everyday life. The sense memory exercise trains an actors senses to react onstage as they do in real life by pulling events from an actors past, the actor. The exercise continues this way until the actor has asked every ques tion that he can think of, for each of the five senses. Emotional Memory requires the actor to draw on previous personal experiences which resulted in a similar emotion to which their character is experiencing. After performing all of these exercises, the actor picks up his script, and reads it again for inspiration. The best starting point of looking for inspiration would be what Stanislavsky called the magic if. The magic if asks the actor ask What would I do if I were in these circumstances? The magic if allows the actor to play make believe, it makes them realize that the y are living a fictional life that they must make real to themselves. The most fundamental principle of Stanislavski's teaching is that the actor must live the life of the character that he is portraying, he must learn to think like the character and behave like the character, to become the character both physically and mentally. This, he believed, is the only way to achieve total realism. He was a revolutionary, protesting against the old manner of acting and against the traditional arrangement of plays.