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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。
史坦尼斯拉夫斯基於1863年1月5日出生於莫斯科一個富商家庭。1877年在家庭業餘劇團舞台開始演員生涯。1888年與莫斯科一眾文藝界名流，創立藝術文學協會及附屬劇團，正式步進專業演員的道路。1897年6月史坦尼斯拉夫斯基創立當時屬新型的劇院——莫斯科藝術劇院。
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。
他在1922～1924年率劇團在美國巡迴演出時，撰寫了其自傳《我的藝術生活》，對自己的戲劇體系作了系統性的總結。1928年10月心臟病突發之後，全力投入戲劇實驗教學與理論總結工作，寫出了洋洋大觀的《演員的自我修養》，並以「形體動作方法」豐富了以內心體驗為核心的戲劇體系。這一體系對戲劇藝術的演變，產生了很大的影響。
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《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.[92]
《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》
史坦尼斯拉夫斯基創造了自己獨有的的演劇體系，深深影響了其後的一大批戲劇人。他的體系相當龐大，囊括了表演、導演、戲劇教學及方法等方方面面。
堅持以「體驗藝術」為創作核心的現實主義創作思想。斯氏認為，演出者的世界觀和藝術觀決定了一部劇的最高任務和貫穿思想，只有合適的世界觀和藝術觀，才能完成戲劇的使命；而且他認為必須追求現實生活的真實性，追求在舞台上再現現實生活。
創造角色和劇本的「人的精神生活」，並且通過優美的舞台形式把這種生活藝術地體現出來。
Stanislavski devoted particular attention to the performances of the Maly Theatre, the home of psychological realism in Russia.[17] Psychological realism had been developed here by Alexander Pushkin, Nikolai Gogol and Mikhail Shchepkin.[18] 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:[19]
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.[38] He also became interested in the aesthetic theories of Vissarion Belinsky.[39] 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.[40] At this time Stanislavski warned in his diary:[41]
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":[54]
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."[55] 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 unifiednaturalistic aesthetic of the Ensemble's approach.[43]
It was at this time that Stanislavski first met Leo Tolstoy.[56] Tolstoy re-wrote the fourth act of his The Power of Darkness along the lines of Stanislavski's suggestions in 1896.[57] 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.[58] On the eve of creating the Moscow Art Theatre, Stanislavski wrote of the importance of simplicity, directness and accessibility in art.[59]