Zero zone in Stanislavski’s practice

Abstract

ABSTRACT The current provocation explores what could be behind Konstantin Stanislavski’s claim that his teaching is neither a method nor a system, as it is unfinished. Alongside the complex of techniques and the worldwide influence it has on contemporary performing art, was there a special area that the master perceived incomplete? Could this be connected to authoritarian theatre-making (which has been recently acknowledged in the field), where the relationship in the actor-director dyad remains hierarchical and evokes a continuous conflict (as a manifestation of stage fright) between them? I argue that on Stanislavski’s personal path as an actor from stage fright to self-confidence, alongside the practical exercises which he designed according to Yoga, he also perceived the importance of Vedic philosophy itself to the performing arts. Via application of Stanislavskian craft, one can experience the absolute truth and higher consciousness, which could replace the internal and external confrontation with fruitful creative outcomes in a rehearsal studio – if practiced perfectly. Unfortunately, the methodology to support the philosophical (ethical) side of the system remained undeveloped by him when he passed away. Zero Zone unique psychosomatic praxis is designed according to Yogic Abhyasa and Vairagya principles to enhance the exchange between actor and director in the creative process to reach the higher aims, described already by Stanislavski. The current paper supports writings on the spiritual aspect of the Stanislavskian system, self-cultivation practices in performing arts and executive coaching.