Stanislavski was already well known internationally as an actor and director and he searched for a training system that would awaken performers emotions

1. Acting - Techniques in the 20th Century
In 1907 a new form of actor training began developing by Konstantin
Stanislavski, artistic director for the Moscow Art Theater in Russia.
Stanislavski was already well known internationally as an actor and
director and he searched for a training system that would awaken
performers emotions. To achieve the creative state of mind in an actor
was his ultimate goal. He thought the performer's past emotional
experiences could be relived on stage. He based his thoughts from
preparing great actors and the knowledge of yoga. Stanislavski taught the
Moscow Art players through physical exercises with emphasize on
relaxation, concentration and belief. Stanislavski believed that
stimulation through the five senses, one could reawaken and control
these memories only indirectly.
Continuous revisions were made over several decades and many
variations of Stanislavski system became the touchstone of 20th century
actor training. Attention to truthful emotional awakening in an actor
through facial detail made it a great technique for television and
naturalistic films. Experimental and traditional directors however,
sparked counter theories and opposing approaches to Stanislavski
teachings.
Vsevolod Meyerhold and Mikhail Chekhov, both students of Stanislavski
in Russia, created actor-training that ignored the psychological
stimulation and were more geared to physical and imagination. In the
1930s German playwright Bertoit Brecht and French theorist Antonin
Artaud, Avantgarde theater practitioners, also challenged Stanislavski.

2. They believed his training was overly realistic and internalized. In
countries such as France and England, where theatrical traditions were
firmly planted, ignored Stanislavski's clarion call.
Stanislavski had his greatest success in the United States. Stanislavski's
idea that was known as "the method" became popular with the Group
Theater in the 1930s and the Actor's Studio two decades later. The
Method was the postwar foundation for the motion-picture acting in
Hollywood. Directors of the alternative American theater in the 1960s,
especially the ones who were influenced by Artaud and Polish director
Jerzy Grotowski, explored innovative acting techniques that gave
emphasize to external and super physical qualities of the performer. In
the late 1990s many American acting teachers borrowed Asian theater
and modern dance traditions.
An American director and actor, Lee Strasberg (1901-1982) was the
leading teacher of Stanislavski's acting technique known as "the
method." Born in Budzanow, Austria-Hungary, Strasberg came to the
United States in 1909 and became a naturalized citizen in 1936.
Strasberg helped to found the Group Theater in 1931; he directed many
of its Broadway plays and productions.
Strasberg became an artistic director of the Actors Studio in 1951 and the
Lee Strasberg Theater Institute was founded in 1969. Strasberg was
responsible for the training of many leading American actors using the
American exponent of the Method, an emotion-oriented acting
technique. The American exponent of the Method was based on the
teachings of the Russian actor and director Konstantin Stanislavski.
Some of his students included: Anne Bancroft, Maureen Stapleton,
Sidney Poitier, Marlon Brando and Dustin Hoffman. Even though his
students had much success, some members of the acting community
often criticized him because of his approach; which was regarded as

3. undisciplined. Strasberg made his debut as an actor in "The Godfather
Part II" in 1974.
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