The paper was received on 01.10.
Рsychological approach with the basic creative principles of the Stanislavski generation has been applied in Vietnam for nearly a century, it has been deeply embedded in all of the staging, performing activities, directing acting in all art forms. The Stanislavski’s system contains a huge amount of knowledge, it dominates most important stages in the creative activities of Vietnamese theater.
Stanislavski’s system is the solid foundation of a modern play. Like architectural art, the background does not prescribe genre and style, Stanislapxki's systemalso does not prescribe style for the plays built on that foundation, the generation only ensures the natural and organic chance to come up with a certain style, ease the creative process, stimulate that process, help the actors make it clear what they want to express, not restricted to any forms, but instead facilitate the freedom to find other forms. The thing is that any content, any form, any style can not go beyond the boundary of the basic principles of real art prescribed: It is the principle that requires true art. Art, exploring the nature of reality is reflected. As a director, Stanislavski combined introspection with appearance in some of his plays, and brought great success, paving the way for his creative exploration later. The Stanislavski’s system was born as an indispensable result of the performing arts, in which the character's spiritual life was considered a creative goal. The truth of life is reproduced on theature in the organic relationship between inner life with the show and the beauty of the actors. Internal performing arts, or experimental art, has approached realism in the general trend of contemporary art and literature. Experimental art requires the actor to create very realistic images like in life, naturally, immersive, and live the character's life like his own. . Experimental art is the art of action. Organic action recreates the process of human activity that takes place according to the laws of nature. That means that on the theatre, in front of the camera, the actor must know how to see, hear, think, feel and act like the real thing, not the expression like thinking or acting.