Stanislavsky’s approaches to directing in the mid-to-late 1920s and the role improvisation played therein are discussed. A key concern for Stanislavsky during this politically significant time was the interpretation of a piece, which in theatre terms revolves around the identification of a throughaction that traverses a play and performance. The one key work aspect that was resolved through improvisation was the creation of the mise-en-scène. It was, however, a very different mise-en-scène from the one that had made Stanislavsky’s reputation as a highly creative director. By now he was totally committed to an actor’s theatre, which meant that the mise-en-scène was less fixed and more fluid, emerging from the improvisations of the actors on the actual stage, late in the rehearsal process, and when they encountered sets, props, furniture arrangements, and so on. The chapter identifies these improvisations, rooted as they were in the actor’s ‘here, today, now’, as a key stepping stone towards Active Analysis and Stanislavsky’s final legacies.