Theatre at a time of revolution : Konstantin Stanislavski and his ethical considerations

Abstract

This dissertation sets out to investigate the ethical considerations of Konstantin Stanislavski vis-a-vis the social and cultural background of the Russian Revolution, more specifically, the way in which his ethics were shaped by the context in which he lived and worked. Stanislavski's life is the story of how art and life fuse - his ethics, which were grounded in his life choices, are seen in a theatrical context but, in truth, they go beyond theatre. The French theorist Denis Diderot claimed that "it's at times when everything is false that people love what is true, it's when everything is corrupt that the theatre is at its most refined." (The paradox of the actor, p. 183) The language of theatre, as a result, becomes the language with which Stanislavski speaks about human freedom, creativity, beauty, truth. In reality, his ethics, born in a specific scenario Revolutionary Russia - transcend art forms and political situations since they point towards profound human issues. This is what makes Stanislavski one of the most important directors of the Twentieth century, and, indeed, one of the best theatre makers ever.