斯坦尼斯拉夫斯基在他的一篇论文里写道:「应该很通俗地向演员论明他实际所必需的心理技术手法,主要是演员体验和再体现的内心手法」(见一九三七年,十二月二十七日「苏联艺术报」)。他的全部艺术生活,他亲自在创作上和教学上所积累起来的全部丰富经验,都为了伟大俄罗斯民族的现实主义艺术的更加繁荣。这种现实主义肇始于史迁普金二,而在新的历史条件下,这一事业的继承人便是斯坦尼斯拉夫斯基。 Stanislavski wrote in one of his essays: “It is very common for the actor to explain to the actor what psychological techniques he or she actually needs, chiefly the inner experience of an actor’s experience and re-expression” (see 1937 Year, December 27 “Soviet art newspaper”). His entire artistic life, all his rich personal experience in creation and in teaching, are all for the prosperity of the realist art of the great Russian nation. This realism originated in the history of the migration of Pu Jin II, and in the new historical conditions, the heir to this cause is Stanislavski.