The art of embodiment was not a special creation made by Staneslavski. however, this art was not known before – as we emphasize on our research- but the favor is ascribed to him particularly in setting up a method which specifies the characteristic this art and differentiating between the embodiment and the art of presentation, as well as setting up an obvious system that can be used in the process of preparing the actor. Knowing the circumstances related to the birth of the embodiment method in the performance of acting- which its name was related to Staneslavski, and has become the most distinguished mark for the Russian school of realism- in addition of knowing what was common in the shape of theatre performing acting before Staneslavski commenced the theorizing the process of preparing the actor depending on the method of embodiment as a base for that process, in addition of knowing what was considered as a controversial issue about this artistic ideology, and how it is related to the ideology of presentation. This perception basically benefits the actor in acknowledging the energy limits of this method in the performing acting either in the phase of actor's preparation or the phase of performance, in general, it enables theatre actor to benefit this perception to influence the relationship between theatre and spectator, consequently serving the higher objective of art.
The Embodiment Method, The Presentation Method, Stanislavski System, Bertold Bricht, The Higher Objective Of Art.