A Quote by Constantin Stanislavski
It is only when an actor feels that his inner and outer life on the stage is flowing naturally and normally, in the circumstances that surround him, that the deeper sources of his subconscious gently open, and from them come feelings we cannot always analyse.
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You have to get beyond your own precious inner experiences. The actor cannot afford to look only to his own life for all his material nor pull strictly from his own experience to find his acting choices and feelings. The ideas of the great playwrights are almost always larger than the experiences of even the best actors.
If outer events bring him to a position where he can bear them no longer and force him to cry out to the higher power in helplessness for relief, or if inner feelings bring humiliation and recognition of his dependence on that power, this crushing of the ego may open the door to grace.
The actor cannot afford to look only to his own life for all his material nor pull strictly from his own experience to find his acting choices and feelings.
The greatest misfortune that can come to a human being is to lose his inner peace. No outer force can rob him of it. It is his own thoughts, his own actions, that rob him of it.
The psychotherapist learns little or nothing from his successes. They mainly confirm him in his mistakes, while his failures, on the other hand, are priceless experiences in that they not only open up the way to a deeper truth, but force him to change his views and methods.
The person senses what it feels like to be free from inhibitions. At the same time he feels connected and integrated – with his body and, through his body, with his environment. He has a sense of well-being and inner peace. He gains the knowledge that the life of the body resides in its involuntary aspect. […] Unfortunately these beautiful feelings do not always hold up under the stress of daily living in our modern culture. The pace, the pressure and the philosophy of our times are antithetical to life.
The musician writes for the orchestra what his inner voice sings to him; the painter rarely relies without disadvantage solely upon the images which his inner eye presents to him; nature gives him his forms, study governs his combinations of them.
The main factor in any form of creativeness is the life of a human spirit, that of the actor and his part, their joint feelings and subconscious creation.
The believer is sensible of his infirmities, for it is supposed that he is wrestling under them. He sees, he feels, that he is not man enough for his work; that his own hands are not sufficient for him, nor his own back for his burden; this is what drives him out of himself to the grace that is in Christ Jesus. And thus he lies open to the help of the Spirit, while proud nature in unbelievers is left helpless.
An actor must interpret life, and in order to do so must be willing to accept all the experiences life has to offer. In fact, he must seek out more of life than life puts at his feet. In the short span of his lifetime, an actor must learn all there is to know, experience all there is to experience, or approach that state as closely as possible. He must be superhuman in his efforts to store away in the core of his subconscious everything that he might be called upon to use in the expression of his art.
True inner joy is self-created It does not rely on any outer circumstances A river is flowing in and through you carrying the message of joy. This divine joy is the sole purpose of life.
Ideas are powerful things, requiring not a studious contemplation but an action, even if it is only an inner action. Their acquisition obligates each man in some way to change his life, even if it is only his inner life. They demand to be stood for. They dictate where a man must concentrate his vision. They determine his moral and intellectual priorities. They provide him with allies and make him enemies. In short, ideas impose an interest in their ultimate fate which goes far beyond the realm of the merely reasonable.
A particular train of thought persisted in, be it good or bad, cannot fail to produce its results on the character and circumstances. A man cannot directly choose his circumstances, but he can choose his thoughts, and so indirectly, yet surely, shape his circumstances.
I do feel there are countless people on earth who do not believe in the inner power, the inner life. They feel that the outer strength and the outer life are everything. I do not agree with them. There is an inner life; there is spirit, and my ability to lift these heavy weights proves that it can work in matter as well.
A painter, who finds no satisfaction in mere representation, however artistic, in his longing to express his inner life, cannot but envy the ease with which music, the most non-material of the arts today, achieves this end. He naturally seeks to apply the methods of music to his own art.
What the actor is in private life, he is to a large extent on the stage, because he cannot conceal himself and his true personality from his audience.
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