Stanislavsky's ‘life of the human spirit’ is at the heart of his understanding of how the actor could become an organic actor rather than a player of borrowed actions and lines. In this article Maria Shevtsova explores the links between Stanislavsky's aspirations for the actor and Grotowski's ‘holy’ actor, the latter providing the impetus for a theatre of presence rather than one of presentation – one that is concerned with the embodiment of fictional bodies and souls. The notion of actor ‘training’ is re-examined in the light of Stanislavsky's practice concerning the actor's mindful and probing work on himself/herself. Grotowski's work on presence-in-action, the basis first of the performer and then of of the doer, has been a catalyst for the singer-movers of Teatr ZAR and this group's goal of spiritual journeying, shared also by its spectators. Maria Shevtsova holds the Chair in Drama and Theatre Arts at Goldsmiths, University of London. Her most recent book is the The Cambridge Introduction to Theatre Directing (co-authored, 2013). She is co-editor of New Theatre Quarterly.
