Editing Konstantin Stanislavski (section)

==Political fortunes under Stalin==
Following his heart attack in 1928, for the last decade of his life Stanislavski conducted most of his work writing, directing rehearsals, and teaching in his home on Leontievski Lane.<ref>Benedetti (1999a, 318), Carnicke (1998, 33), Clark ''et al.'' (2007, 226), and Magarshack (1950, 396). In 1938, Leontievski Lane was renamed "Stanislavski Lane" as part of his 75th birthday celebrations.</ref> In line with [[Joseph Stalin]]'s policy of "isolation and preservation" towards certain internationally famous cultural figures, Stanislavski lived in a state of internal exile in Moscow.<ref>Benedetti (1999a, 372) and Carnicke (1998, 33).</ref> This protected him from the worst excesses of Stalin's "[[Great Purge|Great Terror]]".<ref>Benedetti (1999a, 372).</ref>

A number of articles critical of the terminology of [[Stanislavski's system]] appeared in the run-up to a [[Russian Association of Proletarian Writers|RAPP]] conference in early 1931, at which the attacks continued.<ref name="Benedetti 1999a, 335–336">Benedetti (1999a, 335–336).</ref> The system stood accused of philosophical [[idealism]], of a-historicism, of disguising social and political problems under ethical and moral terms, and of "biological psychologism" (or "the suggestion of fixed qualities in nature").<ref name="Benedetti 1999a, 335–336"/> In the wake of the first congress of the [[USSR Union of Writers]] (chaired by [[Maxim Gorky]] in August 1934), however, [[Socialist realism]] was established as the official party line in aesthetic matters.<ref>Benedetti (1999a, 354–355) and Carnicke (1998, 78).</ref> While the new policy would have disastrous consequences for the [[Russian avant-garde|Soviet avant-garde]], the [[Moscow Art Theatre|MAT]] and Stanislavski's system were enthroned as exemplary models.<ref>Benedetti (1999a, 355) and Carnicke (1998, 78, 80).</ref>