ABSTRACTThe article offers a contemporary study of the relationship between Stanislavski and Caribbean culture derived from a desire to incorporate traditions of African descent into world theater. It references studies on stanislavski and ritual culture, as well as processes of play rehearsals and ritual ceremonies. These are essential research sources for trance-possession and its place in the actor's art and the psychophysical processes of the actor or dancer based on ancient Yoruba possession traditions. studying performances during ritual experiences raises disturbing questions. How far can the interpreter get in touch with that reality? Much has been made of the external view of the importance of consciousness, but how about the impulses that lead the actor to deprogrammed areas of consciousness that access other communication levels? TO propose a way forward, María Antonia(1964), by Cuban theater dramatist Eugenio Hernández Espinosa, is explored. this production was created by mixing Yoruba tradition with the training of artists for whom stanislavskian theatrical culture supplies a constant reference point.