When he was 22, his Notebooks were filled with such kind of sentences: “What is the physiological aspect of the role? The psychic aspect of the role?” (Benedetti 1999, p. 23). At this point Stanislavsky made an emphasis on connection between body and mind. These lines would become a leitmotif of his further system.
Alekseyev Circle was the name of their family’s acting troupe. Kostya was an outstanding actor in this troupe. Later on, actor’s wanderings resulted in establishment of the Moscow Amateur Music-Dramatic Circle. He united with famous Russian actors and questioned his own acting abilities. His main concern was focused on considerations of director-actor’s mutual understanding of their common ideas. He was focused on imagination’s development. He claimed that it was necessary to appeal to personal emotions and then project them on a character. At this point an initial stage of his system was established. Kostya got married to Maria Perevoshchikova in 1889 and they went together throughout their life as partners and workmates (Merlin, 2003).
On every stage of his life, Stanislavsky worked hard at embodiment of his system into life. For example, he followed a piece of advice of his favorite actor of 19th century Mikhail Shchepkin. The latter claimed that in order to be an outstanding actor, it is necessary to take examples from actor’s personal life. Having followed this instruction, Stanislavsky when he played Othello, turned his attention to an Arab, his friend from Paris. External imitation was good, but this character was hollow inside. At this point Stanislavsky was very much concerned about the following question: “When does an actor become the character? And how does the actor observe life and then turn those observations into creative will, or inspiration?” (Merlin, 2003). Nevertheless, instead of truthful psychological portrait, a skilful sculpture emerged. It may seem weird, why Stanislavsky paid so much attention to