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我第一次看见康·塞·史坦尼斯拉夫斯基是在生活中而不是在舞台上,——是在一九二○年艺术剧院里“该隐”总排演的时候。大厅中满坐着莫斯科艺术剧院和戏剧研究院的青年们,他们是在革命后来学习戏剧艺术的,在这天,第一次被邀请来看艺术剧院的总排。戏剧界关于“该隐”的排演谈论得很多,他们说到史坦尼斯拉夫斯基构思上的勇敢,和他在排演时无穷无尽的想像力。今天我们被请到莫斯科艺术剧院来参观排演工作的最后阶段,我们都了解这次总排的意义,我们的不安并不亚于这戏的参与者,从整个大厅中都可以感到这种情绪。忽然厅中静了下来,在它较暗的一边,厢楼下边的门前出现了康·塞·史坦尼斯拉夫斯基,他正在走向自己的导演席。可以看出来,康斯坦丁·史坦尼斯拉夫斯基也是不安的,他向那些朝着他微笑的面孔和惊喜的眼光很注意地环视了一下,好像他感染到观众对他的真诚
The first time I saw that Konzert Stanislavski was in life rather than on stage, it was time for the rehearsal of “Cain” at the Art Theater in 1920. The lobby was full of young people from the Moscow Art Theater and the Theater Academy, who learned theater art after the revolution and for the first time on this day they were invited to look at the total arrangement of the theaters. Dramas talked a lot about rehearsal about “Cain,” they talked about the braveness of Stanislavsky’s ideas and his inexhaustible imagination in the rehearsal. Today we were invited to visit the Moscow Art Theater to visit the final stage of the rehearsal. We all know the meaning of this row. We feel uneasy as much as the participants in the show. We feel this emotion from the entire hall. Suddenly the hall was quiet. On the darker side of the building, there was Concel Stanislavski in front of the cabin. He was heading for his director’s seat. As can be seen, Constantine Stanislavsky was also disturbed, paying close attention to those faces and surprises toward him, as if he had infiltrated the viewer’s sincerity