Stanislavski, Creativity, and the Unconscious

Abstract

As Alice Reyner's paper on Stanislavski and Bradley in NTQ 4 illustrated, Stanislavski remained very much a man of his own time, however enduring his approach to acting has proved. Here, Natalie Crohn Schmitt examines one of the concepts most crucial to ‘the system’ – a concept which is in its essentials, however, derived from nineteenth-century ideas, now being challenged, about the relationship between creativity and the unconscious. Pointing out that Stanislavski himself believed that his ‘system’ was simply the application of natural laws to acting technique, the author shows Stanislavski's indebtedness to the psychological theories of Théodule Armand Ribot, which interpreted all human behaviour in terms of ‘an aim towards fixed ends’. One of the reasons for the decline in influence of Stanislavski's system thus reflects, she argues, the growing belief that creativity is ‘process’, its ends ‘continually redefined by the actions, and vice-versa’ – and the author suggests examples of such a non-Stanislavskian approach among contemporary theatre companies. Natalie Crohn Schmitt is associate professor of theatre in the University of Illinois at Chicago. Her earlier essays have appeared in a wide range of journals, and she has just completed a full-length study,Actors on the Stage of Life. The present paper was written under a grant from the National Endowment for the Humanities.