Constantin Sergeyevich Stanislavski (君士坦丁·史坦尼斯拉夫斯基 1863年1月5日－1938年8月7日），原名阿列克塞耶夫，是俄國著名戲劇和表演理論家。
1898年10 月史坦尼斯拉夫斯基首次執導一齣歷史悲劇《沙皇費多爾·伊凡維奇》，同年11月執導的《海鷗》獲得轟動性成功。這部戲奠定了史坦尼斯拉夫斯基在戲劇上的地 位。接著再有多部戲劇執導：《萬尼亞舅舅》、《三姊妹》、《櫻桃園》、《小市民》、《底層》。其中《三姊妹》、《底層》、《櫻桃園》史坦尼斯拉夫斯基都有 參演重要角色。
《我的藝術生活》（Моей жизнью в искусстве）
Lord Laurence Olivier wrote that Stanislavski's My Life in Art was a source of great enlightenment" when he was a young actor.
《演員的自我修養》（Работа актера над собой）
M. A. F.《史坦尼斯拉夫斯基體系精華》
Stanislavski devoted particular attention to the performances of the Maly Theatre, the home of psychological realism in Russia. Psychological realism had been developed here by Alexander Pushkin, Nikolai Gogol and Mikhail Shchepkin. In 1823, Pushkin had concluded that what united the diverse classical authors—Shakespeare, Racine, Corneille and Calderón—was their common concern for truth of character and situation, understood as credible behaviour in believable circumstances:
With the guidance of Fedotov and Sollogub, Stanislavski finally abandoned the operatic conventions and theatrical clichés in his acting that he had mimicked from other actors' performances. He also became interested in the aesthetic theories of Vissarion Belinsky. From Belinsky he took his conception of the role of the artist, on which he based a moral justification for his desire to perform that accorded with his family's sense of social responsibility and ethics. At this time Stanislavski warned in his diary:
Young actors, beware of your female admirers! Make love to them, if it amuses you, but do not discuss art with them! Learn in time to listen to, to understand and love the bitter truth about yourselves! And get to know those who can tell it to you. It is with them that you should discuss art.Stanislavski introduced lyrical elaborations through the mise-en-scène that dramatised more mundane and ordinary elements of life, in keeping with Belinsky's ideas about the "poetry of the real":
Stanislavski uses the theatre and its technical possibilities as an instrument of expression, a language, in its own right. The dramatic meaning is in the staging itself. [...] He went through the whole play in a completely different way, not relying on the text as such, with quotes from important speeches, not providing a 'literary' explanation, but speaking in terms of the play's dynamic, its action, the thoughts and feelings of the protagonists, the world in which they lived. His account flowed uninterruptedly from moment to moment.Writing years later in his autobiography My Life in Art (1925), Stanislavski described Chronegk's approach as one in which the director is "forced to work without the help of the actor." Jean Benedetti suggests that Stanislavski's task at this stage was to unite the realistic tradition of the creative actor inherited from Shchepkin and Gogol with the director-centered, organically unified naturalistic aesthetic of the Ensemble's approach.
It was at this time that Stanislavski first met Leo Tolstoy. Tolstoy re-wrote the fourth act of his The Power of Darkness along the lines of Stanislavski's suggestions in 1896. Tolstoy was another important influence on the development of Stanislavski's thought; his What Is Art? (1898) promoted immediate intelligibility and transparency as an aesthetic principle. On the eve of creating the Moscow Art Theatre, Stanislavski wrote of the importance of simplicity, directness and accessibility in art.