Abstract
The two systems – the Stanislavsky’s and the Brecht one – have points in common, even if, at first glance, they are very different in approach. The article aims to describe the two directions regarding the practice and pedagogy of the actor's art. Elements relating to inner or outer inspiration, awareness or the distancing effect are analyzed and counterbalanced between the two systems. Likewise, the discourses that continued the two fundamental aesthetics for the 20th century stage are also presented.
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