This is a digest from the teachings of the famous Russian director and actor, Konstantin S. Stanislavski, by a former student at the Moscow Art Theatre. Miss Moore begins by saying that the ""Method"" is greatly musunderstood and threatened as much by its adherents as by its critics. She points out that many present day Method actors who completely neglect their physical training fail to realize that Stanislavski considered creativeness on the stage as the organic blending of psychological and physiological processes. Though she admits that really to understand the Method it has to be studied and practised she goes on to discuss the following areas: the cultivation of the imagination, concentration and attention on the stage, breaking up the role into small parts, each with a concentrated objective, attitudes toward things and other actors on the stage, the stimulation of the actor's emotions, tempo and rhythm, the actor's inner state, the actor's physical apparatus and finally, achieving perspective in the role and putting things in their proper places. The book is clearly written and the author provides exercises for each of the main areas she deals with.