Stella Adler: the Art of Acting Free

Total Page:16

File Type:pdf, Size:1020Kb

Stella Adler: the Art of Acting Free FREE STELLA ADLER: THE ART OF ACTING PDF Howard Kissel,Marlon Brando | 275 pages | 01 Nov 2000 | Hal Leonard Corporation | 9781557833730 | English | New York, United States Stella Adler Studio of Acting | New York The studio is delighted to announce the launch of online courses through Zoom. Programs range from introductory courses that build a Stella Adler: The Art of Acting of skills to advanced master classes for the more experienced actor. Online Workshops — Click Here. Students will learn core acting elements that provide a bedrock for a responsible actor. For ages Online Teen Programs — Click Here. And play and theater for that matter most naturally and organically builds the muscles best suited for spiritual health and mature interactivity and engagement with the world. Online Youth Programs — Click Here. They are designed for non-actors or beginners who have always wondered about acting, theater, theater art, ideas, Stella Adler: The Art of Acting, films, breath work, etc. It is our great joy to open this spirit and training for curious humans everywhere. Click here for more on the Curious Humans Series. These classes include theoretical, practical and academic areas of investigation. Whether you are an actor who wants to expand your knowledge of the art, a director who wants to grow and learn new technology, or a writer who is interested in writing for specific voices, our current offerings have what you are looking for and will continue to grow. Click here for more on the Theater Makers Series. The Art of Acting by Stella Adler Stella Adler technique evolved from the initial method acting technique advocated by Stanislavsky. Every actor knows Stanislavsky is the father of the modern acting technique. And Stella was fortunate enough to study acting directly from the Stanislavsky. As she matured, she developed her method of acting. Before we get into the technical stuff, let me help you know the person who developed this technique or method of acting. Stella Adler was an American actress and most Stella Adler: The Art of Acting after acting coach of her time. As she developed her technique of acting, she departed from the Group Theater and began teaching Stella Adler Technique. The ideology of Stella Adler about acting differed from those who taught the Stanislavsky system, which believed to be the main reason for Stella leaving the Group Theater. This technique is popularly knowns as emotional memory. This method acting technique uses past experiences which according to Stella Adler may have an unhealthy effect on actors. As these experiences are personal to an actor, these experiences will never belong to the character he or she is playing. When she trained with Stanislavski aroundshe found out that even Stanislavski doubted the use of concepts like emotional memory. He too had changed his approach. Stella Adler was a firm believer of actors using their imagination. She taught that actor must focus on external research of their characters. Everything needed for the role must come from their research and imagination. So, when you learn the Stella Adler technique of acting, you will find that Stella Adler has more focus on developing imagination. Stella Adler has been a teacher of many Stella Adler: The Art of Acting actors. Following are Stella Adler: The Art of Acting a few of many who show how good the Stella Adler technique of acting can is. Everyone knows how great actor Marlon Brando was. Be it Streetcar named Desire or be it, Godfather, he always mesmerized audiences with his mind-blowing performances. For his success as an actor, he has openly credited Stella Adler technique. Stella, you see, taught me how a play was built, how ideas were inserted as if they were bricks and windows and cornices and buttresses; how characters were inserted to allow light or shadow or a better view; how a playwright transmitted thoughts and ideas, and how actors were then empowered, required, to pick up those thoughts and ideas and transmit them to both their fellow players and to an audience. As we know, Warren Beatty is Stella Adler: The Art of Acting American actor and filmmaker who has been nominated in the Academy Awards which includes four times the best actor, four times best picture, two times best director, three times original screenplay and one for adapted screenplay. He studied acting under Stella Adler after he dropped out of college. Stella Adler: The Art of Acting has often said that at Stella Adler Studio of Acting he learned a valuable lesson, that is to know what his characters are and what are their Stella Adler: The Art of Acting. We all actors have seen the movie, Taxi Driver Robert De Niro portrayed a complicated character with ease. De Niro studied under both Strasberg and Stella Adler which became the foundation of this fantastic actor with a career stretching over 40 years. Benicio Del Toro is one of the most respected actors when Stella Adler: The Art of Acting comes to the craft of acting. He has several nominations in Academy Award and Bafta. In his several interviews, he has credited Stella Adler technique of acting as the main base of his work. Christoph Waltz Stella Adler: The Art of Acting been like a secret weapon for director and filmmaker, Quentin Tarantino. Best of his work has come with Tarantino. Many students of Stella Adler technique has admitted that this technique helps not only grow as an actor but enables you to develop as a human being. Stella Adler was a strict coach, and she demanded that her actors must be disciplined first and then worry about learning the craft. Many actors, even today talk about she hated if they ever came late for the class. So, her method has a lot of personal development elements in addition to acting elements. Stella Adler believed that acting becomes more fun when actors bring his or her point of view to the work. If you join any of the institutes of Stella Adler technique, they will teach you how to develop your ideas and how to respect your ideas. This Stella Adler technique will help them use acting as a means to convey their ideas. Stella Adler technique is all about developing your imagination to create a fictional life in reality. It was the main reason Stella Adler parted away from Lee Strasberg. She wanted actors to use their imagination only for their roles and not their tormenting past experiences. In her class, Stella taught actors to find their motivation using imagination. If the scene is about being sad, create a believable imaginary circumstance that would induce the required sad emotion. According to Stella, to develop imagination, an actor must learn to observe the world around him or her in fine details. Use those details, to create the imaginary world on stage. It is another critical factor of the technique. According to Stella, it all about doing in Stella Adler: The Art of Acting scene and not feeling. The feeling is just a by-product when an actor is in doing. The has always to find something to do in the scene. Find Actions. Even if your character is standing or sitting still, there is something to do like you may be waiting, thinking, etc. Any action you choose must have justification for it. Stella Adler used to say to her students that they must bring size to their actions and more significant meaning to the script. And the way to do that was to make the bodies and voices stronger. With stronger voice and bodies actors can convey their actions more efficiently and effectively. Especially for the stage, an actor must have a stronger instrument which their body and voice. On screen, even the smallest action done in an epic way which to do it full conviction the camera will capture it. I believe choosing an acting method is a very personal choice. If you see Stella Adler herself, studied different types of methods. After she learned and experienced different methods of acting, she created her own. Many modern actors, hire different acting coaches with different approaches, to prepare for their parts. Foreward is written by Marlon Brando. In many chapters, she discusses her teaching experience with Marlon Brando. It is must read the book for any actor who wants to experience what Stella Adler technique of acting is all about. If you like our blog, please subscribe us and follows on Instagram, methodactingforme. Tags: stella adler. The Definitive Guide to Stella Adler’s Acting Technique Join us at our world renowned acting school located in the heart of Hollywood. We offer extensive training in film, television and theatre for students of all levels. Welcome Join us at our world renowned acting school located in the heart of Hollywood. Admissions Information. Apply Now! Start the application process for the term that works best for you. Get In Touch! Please fill out our Contact Form. Happening Now. Registration Open Fall Online Classes. Virtual Info Session Learn about our program, courses, fees, and application procedures. Alumni News Congratulations Mark Ruffalo! Winner Emmy Award. Quick Links. Stella Adler: The Art of Acting Tour Schedule an Information Session. Student Brochure Online brochure outlining our courses, faculty and pricing. Mailing List Keep up to date on what is happening at the Adler! Donate Give back to your creative home! Student Catalog Facts and information about the Academy. Outreach Sharing our artistic resources with the people and non-profits. Where Do I Begin? Admissions Start by reading our Admissions policies for U. Courses View our full list of Courses and our Current Schedule to see what interests you.
Recommended publications
  • Blurred Lines Between Role and Reality: a Phenomenological Study of Acting
    Antioch University AURA - Antioch University Repository and Archive Student & Alumni Scholarship, including Dissertations & Theses Dissertations & Theses 2019 Blurred Lines Between Role and Reality: A Phenomenological Study of Acting Gregory Hyppolyte Brown Follow this and additional works at: https://aura.antioch.edu/etds Part of the Psychology Commons BLURRED LINES BETWEEN ROLE AND REALITY: A PHENOMENOLOGICAL STUDY OF ACTING A Dissertation Presented to the Faculty of Antioch University Santa Barbara In partial fulfillment of the requirements for the the degree of DOCTOR OF PSYCHOLOGY In CLINICAL PSYCHOLOGY by GREGORY HIPPOLYTE BROWN August 2019 This dissertation, by Gregory Hippolyte Brown, has been approved by the committee members signed below who recommend that it be accepted by the faculty of Antioch University Santa Barbara in partial fulfillment of requirements for the degree of DOCTOR OF PSYCHOLOGY Dissertation Committee: _________________________ Brett Kia-Keating, Ed.D. Chairperson __________________________ Sharleen O‘ Brien, Ph.D. Second Faculty __________________________ Thalia R. Goldstein, Ph.D. External Expert ii Copyright © 2019 Gregory Hippolyte Brown iii Abstract When an actor plays a character in a film, they try to connect with the emotions and behavioral patterns of the scripted character. There is an absence of literature regarding how a role influences an actor’s life before, during, and after film production. This study examined how acting roles might influence an actor during times on set shooting a movie or television series as well as their personal life after the filming is finished. Additionally the study considered the psychological impact of embodying a role, and whether or not an actor ever has the feeling that the performed character has independent agency over the actor.
    [Show full text]
  • TRAINING the YOUNG ACTOR: a PHYSICAL APPROACH a Thesis
    TRAINING THE YOUNG ACTOR: A PHYSICAL APPROACH A Thesis Presented to The Graduate Faculty of The University of Akron In Partial Fulfillment of the Requirements for the Degree Master of Arts Anthony Lewis Johnson December, 2009 TRAINING THE YOUNG ACTOR: A PHYSICAL APPROACH Anthony Lewis Johnson Thesis Approved: Accepted: __________________________ __________________________ Advisor Dean of the College Mr. James Slowiak Dr. Dudley Turner __________________________ __________________________ Faculty Reader Dean of the Graduate School Mr. Durand Pope Dr. George R. Newkome __________________________ __________________________ School Director Date Mr. Neil Sapienza ii TABLE OF CONTENTS Page CHAPTER I. INTRODUCTION TO TRAINING THE YOUNG ACTOR: A PHYSICAL APPROACH...............................................................................1 II. AMERICAN INTERPRETATIONS OF STANISLAVSKI’S EARLY WORK .......5 Lee Strasberg .............................................................................................7 Stella Adler..................................................................................................8 Robert Lewis...............................................................................................9 Sanford Meisner .......................................................................................10 Uta Hagen.................................................................................................11 III. STANISLAVSKI’S LATER WORK .................................................................13 Tension
    [Show full text]
  • Method Acting Myths
    Transcription of podcast: Method Acting Myths Brian Timoney with Joe Ferrera July 2016 Debunking the myths: A look at what Method Acting is really all about Brian and Joe discuss their take on some of the myths surrounding Method Acting, with a look at the idea of actors going to extremes for roles – with examples from some of today’s acting greats – and why The Method goes much deeper than gaining weight and pulling teeth! 10 things you will learn about: • Method Acting – Is it really all about gaining weight & pulling teeth? • What do Method Acting and baking a cake have in common? • Expanding on art – The creative side of acting • How the acting greats do it: De Niro, Day-Lewis, Streep, Jolie • The process: Getting it right – Step by step • The Method: 30 years’ experience condensed into a year • Why it’s not all fun: The hard graft and boring stuff • How Lee Strasburg got it just right • The Method and depth of characterisation • Is anyone a born actor? Learning to be a natural Page 2 Full Transcript One man – One mission: To rid the world of low-standard and mediocre acting, once and for all. Brian Timoney, the world’s leading authority on Method Acting, brings you powerful, impactful, volcanic acting and ‘business of acting’ techniques in his special Acting Podcasts. It’s Brian Timoney’s World of Acting – unplugged and unleashed. Brian: Hi everyone, it’s Brian here. Welcome onto today’s podcast. And I have Joe with me – welcome, Joe. Joe: Thank you very much for having me, Brian.
    [Show full text]
  • Robert Downey Jr
    PVR MOVIES FIRST VOL. 27 YOUR WINDOW INTO THE WORLD OF CINEMA JANUARY 2018 20 LITTLE-KNOWN THINGS ABOUt…. GUEST RVIEW ROBERT INTE DOWNEY JR. RAJ NEE EY PAND THE BEST NEW MOVIES PLAYING THIS MONTH: MUKKABAAZ, THE POST, 1921, 12 STRONG, PITCH PERFECT 3 GREETINGS ear Movie Lovers, We rewind to “ Scent of a Woman, “ the ​​1992 film that earned Al Pacino his first Oscar for his portrayal of a Here’s the January edition of Movies First, your exclusive cantankerous colonel. window to the world of cinema. ​​T race the fast-rising career graph of ​​American​​ writer- ​​​​​Th e year kickstarts with “ Paddington 2”, a fabulous follow director Alex Garland , and join us in wishing superstar​​​​​ ​​ up to Paul King’s superhit animation comedy. Watch Nicholas Cage a Happy Birthday. out for Hugh Grant’s scene-stealing turn as an appalling villain, and the non-stop side-splitting gags. We really hope you enjoy the issue. Wish you a fabulous month of movie watching. ​​Neeraj Pandey’s much awaited “Aiyaary” arrives on screen, and we have the man himself telling us what to Regards expect from this intense patriotic thriller. Akshay Kumar plays “ Pad Man ,” ​​which tackles ​​a bold and beautiful Gautam Dutta social subject. CEO, PVR Limited USING THE MAGAZINE We hope youa’ll find this magazine easy to use, but here’s a handy guide to the icons used throughout anyway. You can tap the page once at any time to access full contents at the top of the page. PLAY TRAILER SET REMINDER BOOK TICKETS SHARE PVR MOVIES FIRST PAGE 2 CONTENTS This January everyone’s favourite bear is back for seconds.
    [Show full text]
  • Why Hollywood Isn't As Liberal As We Think and Why It Matters
    Claremont Colleges Scholarship @ Claremont CMC Senior Theses CMC Student Scholarship 2019 Why Hollywood Isn't As Liberal As We Think nda Why It Matters Amanda Daily Claremont McKenna College Recommended Citation Daily, Amanda, "Why Hollywood Isn't As Liberal As We Think nda Why It Matters" (2019). CMC Senior Theses. 2230. https://scholarship.claremont.edu/cmc_theses/2230 This Open Access Senior Thesis is brought to you by Scholarship@Claremont. It has been accepted for inclusion in this collection by an authorized administrator. For more information, please contact [email protected]. 1 Claremont McKenna College Why Hollywood Isn’t As Liberal As We Think And Why It Matters Submitted to Professor Jon Shields by Amanda Daily for Senior Thesis Fall 2018 and Spring 2019 April 29, 2019 2 3 Abstract Hollywood has long had a reputation as a liberal institution. Especially in 2019, it is viewed as a highly polarized sector of society sometimes hostile to those on the right side of the aisle. But just because the majority of those who work in Hollywood are liberal, that doesn’t necessarily mean our entertainment follows suit. I argue in my thesis that entertainment in Hollywood is far less partisan than people think it is and moreover, that our entertainment represents plenty of conservative themes and ideas. In doing so, I look at a combination of markets and artistic demands that restrain the politics of those in the entertainment industry and even create space for more conservative productions. Although normally art and markets are thought to be in tension with one another, in this case, they conspire to make our entertainment less one-sided politically.
    [Show full text]
  • Pdf, 742.59 KB
    00:00:00 Dan McCoy Host On this episode, we discuss: Doolittle! 00:00:03 Stuart Host Why do they call him “Do little”? I think he does a lot in this movie! Wellington [Laughs.] 00:00:08 Elliott Kalan Host The—Stu, that’s exactly what I was gonna say. 00:00:11 Dan Host And it was what Audrey predicted was gonna be the gag. [Multiple people laugh.] 00:00:15 Elliott Host That is the exact thing I have written in my notes to say, Stu, for this—for this part. Ah. Two peas in a pod. 00:00:22 Music Music Light, up-tempo, electric guitar with synth instruments. 00:00:49 Dan Host Hey, everyone, and welcome to The Flop House. I’m Dan McCoy. 00:00:52 Stuart Host Oh hey there! I’m Stuart Wellington. 00:00:54 Elliott Host Top o’ the morning! Or whenever you’re listening to this—midnight? I don’t know! I’m Elliott Kalan. And Dan, who’s joining us? 00:01:01 Crosstalk Crosstalk Stuart: Yeah, Dan. Elliott: Or Stuart. 00:01:02 Dan Host Uh… 00:01:03 Elliott Host Or Dan. 00:01:04 Crosstalk Crosstalk Elliott: Or Stuart? Dan: I thought we decided on Stuart— 00:01:05 Dan Host —but I can say it. It’s—it’s David Sims, of the Blank Check podcast and he is the, uh… film reviewer for The Atlantic. And that is a—that is a big, high-toned magazine. That is, uh, that is a respected publication.
    [Show full text]
  • All of the Apple Is Me: Process Work & Acting an Exploration & Practical Guide
    All of the Apple is Me: Process Work & Acting An Exploration & Practical Guide Lisa Blair September 27, 2009 Process Work Institute Submitted in partial fulfillment of the Master of Arts in Process Work and the Diploma in Process Work All content and exercises are meant for individual use only and should not be duplicated or distributed for classroom or other use. Please do not make partial or complete copies of this manuscript without permission by the author. Copyright © 2009 2 If I compare myself to a large, meaty, round apple, I discover that my inner and outer cliché image of myself is only a wedge of it – possibly the wedge with the rosy cheek on the skin. But I have to become aware of myself as the total apple – the firm inner flesh as well as the brown rotten spot, the stem, the seeds, the core. All of the apple is me. ‐ Uta Hagen, Respect for Acting 3 4 Table of Contents Acknowledgements............................................................... 7 Introduction .......................................................................... 9 Act I: Acting Techniques for the Actor A Brief Overview of Theories of Acting................................. 23 Actor Preparation.................................................................. 43 Act II: Process Work Techniques for the Actor Identity.................................................................................. 51 Edgework .............................................................................. 57 The Killer ..............................................................................
    [Show full text]
  • Thank You to Our Generous Patrons! We Gratefully Acknowledge Contributions of $250 Or More Here, June 2020- June 2021 Presents
    Thank you to our generous patrons! We gratefully acknowledge contributions of $250 or more here, June 2020- June 2021 presents Anonymous (14) Silas Grossberndt Burt & Adrienne Rosen Actor's Equity Foundation Marlene Burdman Gursey Elana Rosenberg & Greg Central Park | Previews June 24 - June 30, 2021 Bonnie Andersen Newman Halvorson Litt Performances July 1 - July 11, 2021 Janice Arber Maura Harway & Richard Wendy Ruby Brooklyn Commons at MetroTech | July 13 - 18, 2021 Melissa T Astudillo Mark Jeanne Sakata & Tim Carl Schurz Park | July 20 - 25, 2021 Axe-Houghton Foundation Howard & Cindy Hechler Patterson Hugo Barreca The Herman Liebmann Nick Salamone & Clay The Battery | July 27 - August 8, 2021 Audiences are welcome on a frst-come, frst-serve basis on the day of Loretta Belanich Foundation Storseth the performance with necessary Contact Information and Social Distancing. Bloomberg L.P. Anne & Leon Hoffman Lynn & John Salmon FREE & OPEN TO THE PUBLIC for FREE reservations & performance Broadbent Charitable Gift James Holmes Curt & Cheryl Sawyer details: nyclassical.org Fund The JPMorgan Chase Alice Scovell Stephen Burdman & Foundation Christine Shamborsky Adena Abramson Terri Kenworthy Randy Shapiro and Daniel Ellen & Don Byck Andrea Allen Knutson Ripp Andrew Carlon Patricia J KoZu Robin Forman & Hugh ” g Michael Carlon Melissa Kuklin Smyser n i d Chris Carstens & Carol Jill & Martin Lebwohl Sharon & Norbert Soski n e y Meyer Michael and Mary Ellen Robert & Barbara p p a h Jill & Michael Caruso Lehmann Staffaroni “ 81 16 Christopher Cass Diane Lerner Jane Stanicki ’s ate m T Rosina Dixon Fred & Ellen Levine Laura Starr ahu by W with N Eric Drachman Lisa LopeZ Heddy Steinman illiam Shakespeare Donald and Emilie Heather MacMaster Antonia Stolper Englund M&R Capital Management Bruce Taten and Rosa The original source material for King Lear wasn’t a tragedy! Tate’s adaptation—which lets our well-meaning royal live and let live—was performed almost exclusively until the 1840s.
    [Show full text]
  • At the Core of the Strasberg Curriculum Are the Method Acting Classes
    SPRING 2020 CLASSES METHOD ACTING At the core of the Strasberg curriculum are the Method Acting classes. Students are required to take two Method Acting classes per semester, each with a different teacher. These classes are designed to train the actor in Lee Strasberg’s systematic approach to acting known throughout the world as The Method. The technique develops the actor’s ability to respond with real behavior to imaginary stimuli and trains the actor to use their personal experience to fire their imagination. These four-hour classes are divided into two parts: work on one’s self and work on the character. The work one’s self employs Lee Strasberg’s relaxation and sensory exercises to train the actor’s concentration, and eliminate the actor’s individual habits of mental and physical tension, which limit their ability to express. The relaxation is repeated in every class, building over the course of study a keen awareness of one’s body and the ability to relax at will. Sensory exercises are also done each class, but become more complicated throughout the course of study. Sensory work begins with recreating ordinary objects and sensations using the five senses and moves towards more emotional stimuli. This part of class focuses on training an actor’s talent. The second part of class focuses on applying the exercises to scenework and learning how the sensory can help fulfill the demands placed upon the actor by a particular script. Students use the exercises to create organic behavior, make truthful choices, and also learn the way in which improvisation can be used to explore a character’s motivation and deepen one’s understand of the character and scene.
    [Show full text]
  • Anti-Theatrical Ideology in American Method Acting Michael L. Quinn
    Fall 1995 5 Self-Reliance and Ritual Renewal: Anti-theatrical Ideology in American Method Acting Michael L. Quinn American Method acting is not only a realistic artistic technique but also an ideological formation. Almost every account of the adaptation of the Stanislavsky system by the Group Theater generation describes the new "Method" as distinctively American, yet this nationalist aspect of the project has rarely been examined from a historical standpoint that relates it to the dominant forces of American artistic culture; either the Method's arguments for its objectivity have been accepted as scientfically progressive, or its roots are traced to progressive European models (Ashby 1). On the contrary, the Method represents perhaps the most successful merging of a theoretcially conceived theatrical technique with the intellectual traditions that shape the history of American artistic culture. Most critics of the Method in America have produced explanations of the Method's dominance by taking issue either with its artistic claims for superiority or with its satisfied closure into a repressively conceived realism—both arguments that could be carried out solely on the basis of Stanislavsky's work, rather than considering that of his American epigones (Marowitz; Dolan 84-86). I view the emergence of the Method as the productive juncture of a theatrical practice and a revolutionary ideology, an imaginative intersection of innovation and energy that resulted in a remarkable body of work before its force subsided in the face of subsequent, similar cultural transformations; though American debates about the finer points of its technique still continue, the intellectual vitality of the Method revolution has been in a steady decline for about three decades (Schechner).
    [Show full text]
  • Download Program
    THE FLEA THEATER NIEGEL SMITH, ARTISTIC DIRECTOR CAROL OSTROW, PRODUCING DIRECTOR PRESENTS Southern Promises BY THOMAS BRADSHAW DIRECTED BY NIEGEL SMITH FEATURING THE BATS ADAM COY, DARBY DAVIS, MARCUS JONES, TIMOTHY PARK, YVONNE JESSICA PRUITT, JAHSIAH RIVERA, ANA SEMEDO, LAMBERT TAMIN, SHAKUR TOLLIVER, ADRAIN WASHINGTON, SELAMAWIT WORKU, BRITTANY ZAKEN JASON SHERWOOD SCENIC DESIGNER CLAUDIA BROWN COSTUME DESIGNER JORGE ARROYO LIGHTING DESIGNER FABIAN OBISPO SOUND DESIGNER NIKIYA MATHIS HAIR/MAKEUP DESIGNER ROCIO MENDEZ VIOLENCE/INTIMACY CHOREOGRAPHER ANNA KOVACS STAGE MANAGER TYLER THOMAS AssISTANT DIRECTOR CAST (In Order of Apperance) Isaiah..............................................................................Darby Davis Elizabeth.....................................................................Brittany Zaken Benjamin.....................................................................Shakur Tolliver Charlotte............................................................Yvonne Jessica Pruitt David...........................................................................Jahsiah Rivera John...............................................................................Marcus Jones Doctor.............................................................................Timothy Park Imaginary Slave / Emmanuel / David (U/S)/Benjamin (U/S)......Adrain Washington Sarah/Charlotte(U/S)...............................................Selamawit Worku Atticus................................................................................Adam
    [Show full text]
  • Acting Methods Classical Acting / Stanislavsky System
    ACTING METHODS CLASSICAL ACTING / STANISLAVSKY SYSTEM Considered by many to be the father of what’s known today as “method acting,” the Stanislavski system was founded by Konstantin Stanislavski and is based on the idea of the “art of experiencing.” The intent is to ignite an actor’s conscious thought to affect their less conscious expression in their performance, as far as emotion and subconscious behaviors. One of the world’s most frequently taught acting techniques, Stanislavski inspired scores of future teachers including Stella Adler, Sanford Meisner, and Lee Strasberg. Think emotional memory recall, spiritual realism, and self-analysis. METHOD ACTING: STRASBERG Lee Strasberg extrapolated upon Stanislavski’s technique to create “The Method” but focused on the psychological aspects. The approach is for actors to evoke their own applicable experiences in order to bring them closer to those of their character, which Strasberg called “emotion memory.” Lee Strasberg’s actors intensify their connections to the work by mimicking characters’ experiences within the context of their own (real) lives, and reaching deeper connections and understandings of their characters’ emotional worlds. METHOD ACTING: STELLA ADLER Stella Adler also worked with and expanded upon Stanislavski’s method, though she stringently opposed the idea of drudging up past experiences for the sake of acting, deeming it unhealthy. Rather, she created a system that revolves around the development of independent actors, the power of the imagination, the importance of action, script interpretation, and the cultivation of a rich humanity. Stella Adler’s approach is also built on that of Stanislavski, but imagination is emphasized over emotional recall; in her words, “You have to get beyond your own precious inner experiences.” METHOD ACTING: MEISNER Developed by Sanford Meisner, the Meisner technique, too, builds on Stanislavski.
    [Show full text]