Zeami, the inner space and Stanislavski

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)