Stanislavski, Shpet, and the Art of Lived Experience

Abstract

The purpose of the present paper is to suggest that the answer to the question of unserstanding Stanislavski in the English-speaking world is a problem not only of translation, but one of philosophical discovery. Hidden in Stanislavski’s practical approach is the philosophical question of “what is theatre as an art”, and “how does the actor fit into that art”. In America and throughout the English-speaking world, Stanislavski’s system was propagated as “the Method”; indeed it seems that one of the difficulties is that only a part of Stanislavski’s methodology was exported, leaving behind the underlying aesthetic assumptions that informed Stanislavski’s art. Before holding up any version or iteration of Stanislavski’s System as being more authentic, more work has to be done to understand the purpose for which he developed his approach, particularly around key concepts such as "experiencing" ("переживание")

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