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Anybody working as an actor in our contemporary
world has to come to terms with Stanislavski's
work. His work has provided a basic vocabulary.
In relation to Zeami's treatise it is the Russian's
insistence on the source of creative inspiration
coming from an indirect approach to the subconscious
which resonates. Both practitioners place due
emphasis on the sense that the actor can open
their being to "the region of the subconscious" (Stanislavski)
and to "a pure feeling that transcends cognition" (Zeami).
This complements their shared perception that
outer expression must derive from inner movement.
Stanislavski's way is founded more definitely
on the relationship of the actor to a text wherein,
through analysis of emotion and action, the creative
channel can be discovered. It is in this work
that he illuminates how the action of the play
is the inner movement of the actor.
"In the first
period of conscious work on a role, an actor
feels his way into the life
of his part, without altogether understanding
what is going on in it, in him and around him.
When he reaches the region of subconscious the
eyes of his soul are opened and he is aware of
everything, even minute details, and it all acquires
an entirely new significance. He is conscious
of new feelings, conceptions, visions, and attitudes,
both in his role and in himself" (An
Actor Prepares, Stanislavski,
Penguin Books
p.257)
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