Table of Contents

Chapter I Old Russia; Chapter II Family Life; Chapter III Struggles with Obstinacy; Chapter IV Value of Childish Impressions; Chapter V Play Days; Chapter VI Our Home Theatre; Chapter VII A Suddenly Discovered Talent; Chapter VIII Russian Dramatic Schools; Chapter IX The Little Theatre; Chapter X The Conservatory; Chapter XI Anton Rubinstein; Chapter XII Attempts in Operettas; Chapter XIII The Opera; Chapter XIV The Mamontov Circle; Chapter XV The Society of Art and Literature; Chapter XVI Fundamentals of Art Material; Chapter XVII Marriage; Chapter XVIII Character Part s; Chapter XIX Genius of Director Kronek; Chapter XX First Experience as a Director; Chapter XXI Lev Tolstoy; Chapter XXII “Uriel Acosta”; Chapter XXIII “The Polish Jew”; Chapter XXIV The Professional Theatre; Chapter XXV New Stage Effects; Chapter XXVI Tommaso Salvini the Elder; Chapter XXVII Othello; Chapter XXVIII Meeting with Nemirovich-Danchenko; Chapter XXIX My Summer in Pushkino; Chapter XXX The Founding of the Moscow Art Theatre; Chapter XXXI The Productions of the Moscow Art Theatre; Chapter XXXII The Line of the Fantastic; Chapter XXXIII Symbolism and Impressionism; Chapter XXXIV “The Seagull”; Chapter XXXV “Uncle Vanya”; Chapter XXXVI The Journey to the Crimea in 1900; Chapter XXXVII “The Three Sisters”; Chapter XXXVIII The First Journey to Petrograd; Chapter XXXIX Journeys to the Provinces; Chapter XL The Line of Social and Political Moods; Chapter XLI “The Power of Darkness” and “The Enemy of the People”; Chapter XLII “Julius Cæsar”; Chapter XLIII The Last Year with Chekhov; Chapter XLIV “The Cherry Orchard”; Chapter XLV The Studio on Povarskaya; Chapter XLVI Our First Journey Abroad; Chapter XLVII The Cabbage Part ies; Chapter XLVIII The Beginnings of My System; Chapter XLIX Leopold Sulerjitsky; Chapter L “The Drama of Life”; Chapter LI Disappointments; Chapter LII “The Life of Man”; Chapter LIII A Visit to Maeterlinck; Chapter LIV Isadora Duncan and Gordon Craig; Chapter LV The First Studio; Chapter LVI The Founding of the First Studio; Chapter LVII “A Month in the Country”; Chapter LVIII The War; Chapter LIX The Second Revolution; Chapter LX The Opera Studio; Chapter LXI My Life in Art;

About the Author

Constantin Stanislavski

Reviews

"A great figure upon the world scene, one of the greatest men of the theatre that ever lived." -- N.Y.Herald-Tribune
"This wise and delightful book...is packed with sage practical counsel to actors and actresses." -- The TimesLiterary Supplement (London)
"It was a source of great enlightenment to me." -- Sir Laurence Olivier