Stanislavski overruled him.
Two of Stanislavski's pupils were Richard Boleslawski and Maria Ouspenskaya.
Stella Adler was an American actress who actually worked with Stanislavski himself.
Unlike the later Method, Stanislavski focused on combining mind and
body equally in creating a performance.
Contrary to what people assume, Stanislavski did not push for actors to stay
in character while off-camera or off-stage.
Because film is primarily a naturalistic medium,
the main emphasis will be grounded in the teachings of Konstantin Stanislavski and his disciples.
As Stanislavski's system spread from Russia to the West,
an American actor named Lee Strasberg was inspired to form his own Method.
She ended up splitting away from Strasberg's Method because she
disagreed with his total reliance on emotional memory(something that Stanislavski himself also eventually abandoned).
After one of his plays was directed by Stanislavski at the Moscow Arts Theatre,
Mikhail Bulgakov wrote a book called Black Snow which included a scathing mockery of Stanislavski's methods.
They were the ones who went
West, founded a school in the United States, and taught Stanislavski's system to a generation of actors who would never
known this kind of acting before.
While both of them evolved from Stanislavski's Method, Sanford Meisner's technique pushed
actors to focus on their co-actors more than themselves, allowing their counterpart's behavior to change the delivery of lines, shape performances and build layers in an actor's character.