In order to facilitate the understanding of the Stanislavskian method, the researcher presents the aspects inherent to the training process in the dramatic art. She starts primarily from the need to prepare the teacher in a basic knowledge such as acting. To pretend to stage a visually attractive work but with conceptual deficiencies in a dramatic proposal interpreted by children would weaken all the creative work and would look like something common, traditional and of poor quality. For a scenic work to have literary and aesthetic value, a process of integral formation must be generated beforehand, where the individual (teacher/child) is educated in the essence of dramatic art and in all those inherent to it. This teaching method is inserted in the complexity of being and the plurality of worlds as well as in the complexity of the creative process.