In the last few years of his life, Constantin Stanislavsky's practice underwent a radical change. Before, he had spent many years analyzing the creative processes and inner feelings of the actor; but now he felt there was an urgent need to pursuit an actor's physical actions. This new approach was called by him "the Method of Physical Action". His exploration of the physical action seems interesting to many people; unfortunately, he did not finish writing a clear and full explanation of his new practice before his death in 1938. Only some fragments of his manuscripts were left. To the Westerners, the understanding of the Method of Physical Action becomes extremely difficult. On the one hand, it has been regarded as an unfinished experiment of Stanislavsky, thus, it is not worth researching; on the other hand, many significant documents are in Russian, and they have not yet been translated into English. Such being the case, the research on the Method of Physical Action becomes fairly limited, and even scholars or experts who do research on the subject do not truly understand it. This paper intends to explore the essence of the Method of Physical Action. It also tries to study the relationship between the Method of Physical Action and the System, and to answer the question: whether it is an independent method or a part of the System. Moreover, this paper clarifies some misunderstandings many scholars and experts have, including Sonia Moore. The researcher hopes that through analysis the hidden meanings of the Method of Physical Action will be clearly revealed.