Abstract
This article wants to show the importance of the corporal techniques in the system for the training of actors, created by Konstantin Stanislavski, looking for the influence of dance of Isadora Duncan's and the eurhythmics of Emile Jaques-Dalcroze in the elaboration of his theories. By means of a study of the original texts of Stanislavski and of his published translations into Spanish, the presence of dance and eurhythmics is verified in the series of teachings that his system is made up of. Dalcroze's name, written in the original Russian text, was omitted in the most published Spanish translation of one of his books, translated from English; and Isadora Duncan was excluded in one of the chapters. Omissions, oversights, misrepresentations, left their mark on the transmission of a system that marked the course of theatrical teaching from the beginning of the 20th century.
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