DOCSLIB.ORG

Vl Compr Resume

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

V I C T O R I A L I N C H O N G Theater & Film (917) 689-2026 [email protected] Victoria Linchong is a Taiwanese-American actor, writer, director & producer working in both theater and film, whose credits include two OBIE Award winning productions. She is the founder and main creative force of Direct Arts, an intercultural theater and film company dedicated to producing plays and films that explore the intersection between cultures. The company has received support from the NYC Department of Cultural Affairs, Lower Manhattan Cultural, Asian American Arts Alliance and the Puffin Foundation. SELECTED DIRECTING & PRODUCING EXPERIENCE (Theater) Producer/ Director/Writer/Actor BIG FLOWER EATER Theater for the New Ctiy 2013 Red Room, 2011 (Workshop) Producer TAKE TWO! Various locations, 2007-2012 Monthly reading/screening series Producer/Director/Actor PAPER ANGELS San Francisco Fringe 2010 By Genny Lim **Winner, Best of the SF Fringe** University Settlement, 2009 (Workshop) Director/Writer RITE OF RETURN Theater for the New City, 2005 Full-length play Producer GIRLS TOWN Actors Playhouse (Off-B’way), 1999 By Bille Madley and Robin Kerrigan Theater for the New City, 1999 Producer/Writer VIRGIL Nuyorican Poets Café, 1997 One-Act Play Theater for the New City, 1997 Producer FOMENT Greenwich Street Theater, 1997 By James Purdy American Premiere Producer WILLIAMS’ GUIGNOL Center Stage New York, 1996 2 Short Plays by Tennessee Williams World Premiere Production Coordinator STOP THE WAR: A FESTIVAL Theater for the New City, 1991 FOR PEACE IN THE MIDDLE EAST **Obie Citation** Production Coordinator SUN OF THE SLEEPLESS Theater for the New City, 1989 2 short plays by James Purdy World Premiere SELECTED DIRECTING & PRODUCING EXPERIENCE (Film) Director/Producer ALMOST HOME: TAIWAN In production, 2008 – 2013 Feature Documentary Director/Producer A WALK AROUND THE BLOCK The Work Office, 2009 (Commissioned) Short Documentary Producer L TO CANARSIE Summer 2009 Short Film by Alice Cox Director/Producer /Writer DOUBLE DEALING 72 Hour Film Shoot Out, 2005 Short Film **Finalist** SELECTED ACTING EXPERIENCE Ying / Selena BIG FLOWER EATER Victoria Linchong Direct Arts Ku Ling PAPER ANGELS Victoria Linchong Direct Arts **Winner, Best of the SF Fringe, 2010** Beth DEGENERACY Kevin Cunningham 3 Legged Dog Betty Ting Pei LEE/GENDARY Suzi Takahashi Asian American Theater Festival Meta Sinclair SKETCHING UTOPIA Crystal Field Theater for the New City Kylyna YARA’S FOREST SONG Virlana Tkacz La Mama E.T.C. Mary Lois HOT KEYS Jeff Weiss Naked Angels **Obie Citation** …More… Linchong - 2 – SELECTED WRITING EXPERIENCE (Plays & Screenplays) BIG FLOWER EATER A young Taiwanese woman pastes her Theater for the New City, 2013 Full length play grandmother's fortunes on her bathroom wall, setting Red Room, 2011 (Workshop) off a host of otherworldly activities in her small Lower East Side lavatory. A multimedia piece on shamanism in three Asian cultures – Hmong, Korean and Taiwanese – devised by Victoria Linchong, with Kim Chinh and Helen Kim. EX LIBRIS Facing the loss of his shop and the end of his whole Finalist – Boston International Film Feature length screenplay way of life, a used bookseller attempts to redeem his Festival, 2007 failures by tracking down the family of an old st Chinese woman found wandering on the FDR Drive. Passed 1 Round – Sundance Screenwriters Lab, 2007 & Slamdance Screenplay Contest, 2008 “Top contender” – Maya Dalinsky, Berlin Film Festival Talent Campus, 2007 GILDED CAGE A Korean-American man attempts to help an illegal 2nd Place – Indie Gathering Film Festival Feature length screenplay immigrant pay off her smuggling debt, only to find Script Contest, Suspense/Thriller himself wrongly arrested for human trafficking. Category, 2006 Quarter Finalist – Fade In Awards 2007 RITE OF RETURN A young American woman struggles to discover her Theater for the New City, 2005 Full length play history and understand a recurring apocalyptic nightmare, as her Palestinian friend slowly becomes Commissioned by Theater for the New radicalized by the daily indignities of Israeli City for the Emerging Playwrights occupation. Their correspondence forms a Janus- Program. faced portrait of two girls at the crossroads between a violent past and an uncertain future. VIRGIL A young Vietnam veteran returns home to his Theater for the New City 8/97 Full length play Chinese-American wife. A poetic, hard-edged Nuyorican Poets Café 7/97 examination of abuse. TRAINING / WORKSHOPS Chicago Directors Lab, June 2010 British American Drama Academy at Oxford University, Summer 2005: Irina Brown (Shakespeare), Barry Kyle (Modern Drama), Ben Benison (Movement), Linda Gates (Voice) Method/Meisner: Sanford Meisner (Bequia), John Uecker (Method), James Price (Meisner) Scene Study: Elaine Stritch (Stella Adler Conservatory) Improvisation/Mask/Combat: Theater for the New City RELATED EXPERIENCE Artistic Director DIRECT ARTS Current Member LITWING (Lark Theater) 2009-2012 Grants Manager THEATRE FOR A NEW AUDIENCE 2010-2011 Development Assistant FILM FORUM 2009-2010 Development Director THEATER FOR THE NEW CITY 1999-2005 Dramaturge AFFINITY FILMS 1998-2001 Assistant General Manager VALIANT THEATRE 1997 Victoria Linchong (917) 689-2026 [email protected] .
Recommended publications
  • TRAINING the YOUNG ACTOR: a PHYSICAL APPROACH a Thesis

    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
  • More Than Repetition: Meisner and BA Performance Training

    More Than Repetition: Meisner and BA Performance Training

    Theatre/Practice: The Online Journal of the Practice/Production Symposium of the Mid America Theatre Conference Volume 6, 2017 More Than Repetition: Meisner and BA Performance Training By Dennis Schebetta Introduction The Meisner technique has been taught successfully as a concentrated two-year sequence in private studios and MFA programs across the country. But is Meisner an “all-or- nothing” approach, or is “a little Meisner” better than none at all? As Head of MFA Performance Pedagogy and Assistant Professor at the University of Pittsburgh, I began to revise the undergraduate BA acting curriculum in 2014. The curriculum was primarily a Stanislavski-based training with some integration of Uta Hagen. More advanced acting classes examined heightened language and played with “styles,” using textbooks that seemed outdated. As there had been transitions in the faculty of the performance area of the department, many instructors taught from different methods; therefore, there existed an inconsistency of concepts and terminology throughout our courses. My primary goal in revising the curriculum was to give students a solid foundation of skills and maintain consistency throughout their educational journey. As my background was training in Meisner as well as other physical techniques, I searched for ways of incorporating multiple techniques in order to give students multiple entries into their craft. While doing so, I had several questions about integrating Meisner’s exercises with other techniques. Is it beneficial to use only his Word Repetition
  • Curriculum Vitae Jim Vanvalen Associate Professor of Theatre & Head of Acting Actors’ Equity Association CONTACT

    Curriculum Vitae Jim Vanvalen Associate Professor of Theatre & Head of Acting Actors’ Equity Association CONTACT

    Curriculum Vitae Jim VanValen Associate Professor of Theatre & Head of Acting Actors’ Equity Association www.jimvanvalen.com CONTACT Address: Cornell College 600 First Street SW Mt. Vernon, IA 52314 Phone: 319-895-4562 E-mail: [email protected] EDUCATION M.F.A., University of Iowa, 2007 Emphasis: Acting Thesis: “An Actor’s Process” -- An exploration of my process as a professional actor -- from preparation to performance -- and an examination of my discoveries and work over a ten-year period. Specific Training: Acting -- Stanislavski, Meisner, Period Styles Voice -- Berry, Rodenburg, IPA, Dialect Work Movement -- Stage Violence, Laban Effort-Shape Western Theatre History -- Classical to Romantic Periods M.A., Stony Brook University, 1996 Emphasis: Theatre Arts Thesis: “The Creation of a Father-Son Drama: Using the Psychological Theories of Samuel Osherson as a Structural Model” -- The construction of an original solo play entitled “Lullabyes” based on my response to the text Finding Our Fathers by Samuel Osherson. This study led to a full production of “Lullabyes” performed for the Stony Brook Arts Festival. B.A., Stony Brook University, 1992 Emphasis: English/Theatre Performance Magna Cum Laude SPECIALIZED TRAINING & CERTIFICATIONS . Meisner Teaching Certification with Larry Silverberg, 2014 True Acting Institute, Willamette University . Shakespeare’s Heightened Language Workshops I & II with Patsy Rodenburg, 2012-2013 Michael Howard Studios, NYC . DAH Theatre Movement Workshop with Dijana Milošević, 2010 ACM Performance Educators’ Conference, Coe College, IA . Linklater Intensive with Louis Colaianni, 2007 University of Iowa, IA . Dell’Arte 2-Day Workshop in Mask and Movement with Joan Schirle, 2006 University of Iowa, IA 1 TEACHING Associate Professor and Head of Acting, Cornell College Department of Theatre, 2007-present Undergraduate Courses and Descriptions: Basic Acting -- An introductory study of the work of the actor.
  • The Art of Film Acting: a Guide for Actors and Directors

    The Art of Film Acting: a Guide for Actors and Directors

    The Art of Film Acting This Page Intentionally Left Blank The Art of Film Acting: A Guide for Actors and Directors Jeremiah Comey Focal Press is an imprint of Elsevier Science. Copyright © 2002 by Elsevier Science (USA) All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. Recognizing the importance of preserving what has been written, Elsevier Science prints its books on acid-free paper whenever possible. Library of Congress Cataloging-in-Publication Data Comey, Jeremiah. The art of film acting : a guide for actors and directors / Jeremiah Comey. p. cm. Includes bibliographical references and index. ISBN 0-240-80507-0 (pbk. : alk. paper) 1. Motion picture acting. I. Title. PN1995.9A26 C65 2002 791.43'028--dc21 2001058628 British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library. The publisher offers special discounts on bulk orders of this book. For information, please contact: Manager of Special Sales Elsevier Science 225 Wildwood Avenue Woburn, MA 01801-2041 Tel: 781-904-2500 Fax: 781-904-2620 For information on all Focal Press publications available, contact our World Wide Web home page at: www.focalpress.com 10 9 8 7 6 5 4 3 2 1 Printed in the United States of America To my wife, Janet, who taught me what love really means, and my daughters, Jessica and Megan, who have allowed me to experience a second childhood.
  • Love the Art in Yourself: Empowering Actors to Honestly, Comfortably, and Successfully Embody Their Characters

    Love the Art in Yourself: Empowering Actors to Honestly, Comfortably, and Successfully Embody Their Characters

    Bridgewater State University Virtual Commons - Bridgewater State University Honors Program Theses and Projects Undergraduate Honors Program 5-14-2019 Love the Art in Yourself: Empowering Actors to Honestly, Comfortably, and Successfully Embody their Characters Alyssa Germaine Bridgewater State University Follow this and additional works at: https://vc.bridgew.edu/honors_proj Part of the Theatre and Performance Studies Commons Recommended Citation Germaine, Alyssa. (2019). Love the Art in Yourself: Empowering Actors to Honestly, Comfortably, and Successfully Embody their Characters. In BSU Honors Program Theses and Projects. Item 372. Available at: https://vc.bridgew.edu/honors_proj/372 Copyright © 2019 Alyssa Germaine This item is available as part of Virtual Commons, the open-access institutional repository of Bridgewater State University, Bridgewater, Massachusetts. Love the Art in Yourself: Empowering Actors to Honestly, Comfortably, and Successfully Embody their Characters Alyssa Germaine Submitted in Partial Completion of the Requirements for Departmental Honors in Theatre Bridgewater State University May 14, 2019 Dr. Colleen Rua, Thesis Advisor Dr. Heidi Bean, Committee Member Professor Miranda Giurleo, Committee Member INTRODUCTION As an actor, I have performed in more than twenty plays and worked with ten different directors over the years. The outcomes of these performances have varied, and so has the effectiveness of the different approaches I have experienced. As an early career director, I am working to find my own creative voice as well as my personal style of directing and communicating with actors. The purpose of this process is to address the relationship between the actor and the director and how this can best serve a production from the rehearsal process and into performances.
  • Acting Methods Classical Acting / Stanislavsky System

    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.
  • Curriculum Vitae

    Curriculum Vitae

    Curriculum Vitae Elizabeth Mozer Assistant Professor of Theatre Binghamton University Department of Theatre, Fine Arts 127, PO Box 6000, Binghamton NY 13902-6000 917.703.5750 / [email protected] www.theatreintheflesh.net EDUCATION M.F.A. – Theatre: Performance Pedagogy 2012 University of Pittsburgh Thesis: “Embodied Acting – A Synthesis of the Actor Training Approaches of Sanford Meisner and Stepehen Wangh – An Original Course" Full Merit Scholarship and Teaching Assistantship, MFA Teaching Award Nominated for Elizabeth Baranger Excellence in Teaching Award Stephen Coleman, Holly Thuma, Bruce McConachie, Lisa Jackson-Schebetta B.A. – Dance (political science minor) 1982 S.U.N.Y. College at Brockport Summa Cum Laude, Rose Strasser Award (Service and Achievement) Anna Sokolow, Garth Fagan, Susannah Newman PROFESSIONAL ORGANIZATIONS Screen Actors Guild - American Federation of Television and Radio Artists Actors Equity Association American Guild of Variety Artists Association for Theatre in Higher Education Association of Theatre Movement Educators International Somatic Movement Education & Therapy Association Network of Ensemble Theatres AWARDS, FELLOWSHIPS AND HONORS Artist Space Grant - Stella Adler Studio of Acting Winter 2017 Conference Presentation Travel Grant - Binghamton University Summer 2017 Creator in Residence – Earthdance Fall 2016 Dean’s Research Semester Award - Binghamton University Fall 2016 Integrated Artist Fellowship - Association of Theatre Movement Educators Summer 2016 CV Mozer 1 Artist Space Grant - Stella Adler
  • The Phenomenology and Dramatic Platonism of Meisner Technique As Refined And

    The Phenomenology and Dramatic Platonism of Meisner Technique As Refined And

    THE LABOR OF ACTION FOR THE OPERATION OF TRUTH: THE PHENOMENOLOGY AND DRAMATIC PLATONISM OF MEISNER TECHNIQUE AS REFINED AND EXTENDED BY WILLIAM ESPER A Dissertation Presented to The Faculty of the Graduate School At the University of Missouri In Partial Fulfillment Of the Requirements for the Degree Doctor of Philosophy By THEODORE DAVID MARCIA Dr. David A. Crespy, Dissertation Supervisor December 202012 © Copyright by Theodore David Marcia 2012 All rights reserved The undersigned, appointed by the dean of the Graduate School, have examined the Dissertation entitled THE LABOR OF ACTION FOR THE OPERATION OF TRUTH: THE PHENOMENOLOGY AND DRAMATIC PLATONISM OF MEISNER TECHNIQUE AS REFINED AND EXTENDED BY WILLIAM ESPER Presented by Theodore David Marcia A candidate for the degree of Doctor of Philosophy And hereby certify that, in their opinion, it is worthy of acceptance. Dr. David A. Crespy Dr. Cheryl Black Dr. Joseph Bien Dr. Catherine Gleason DEDICATION To my mother, Vaughn Dean Williamson-Marcia ACKNOWLEDGEMENTS The phenomenology of a dissertation is strange; the thing itself is predominately created in solitude, yet it wouldn’t exist at all without the assistance and inspiration of innumerable people. First of all I would like to thank the members of my committee. Dr. David Crespy has been a friend and mentor for the majority of my adult life and continues as such and more as the chair of my dissertation committee. He is never less than a mensch among menschen. Dr. Cheryl Black has guided me through the rigors of scholarly research with her usual grace and uncanny attention to detail from my first semester onward.
  • PARADISE LOST by Clifford Odets Directed by Louis Contey

    PARADISE LOST by Clifford Odets Directed by Louis Contey

    PARADISE LOST by Clifford Odets directed by Louis Contey STUDY GUIDE prepared by Maren Robinson, Dramaturg Table of Contents Clifford Odets: Early Influences ...................................................... 3 Clifford Odets and Paradise Lost ..................................................... 4 American Utopianism ...................................................................... 5 The Group Theatre: Utopia and Its Discontents ........................... 6 The Great Depression ...................................................................... 9 The Current Middle-Class Crisis .................................................... 9 1930s Currency ............................................................................... 11 The Playwriting of Clifford Odets ................................................. 11 The Legacy of Clifford Odets ......................................................... 12 Timeline ........................................................................................... 13 Discussion Questions ..................................................................... 17 Projects for Students ...................................................................... 18 Resources ........................................................................................ 19 2 Clifford Odets: Early Influences “Dear American friend. That miserable patch of event, that mélange of nothing, while you were looking ahead for something to happen, that was it! That was life! You lived it!” — Clifford Odets, 1963 Clifford
  • The Meisner Technique

    The Meisner Technique

    SANFORD MEISNER THE MEISNER TECHNIQUE An Acting Methodology In 1935 Sanford Meisner headed the Drama Department at The Playhouse, SANFORD MEISNER while continuing to act and direct plays produced by The Group Theatre until (1905 - 1997) its demise in 1940. He also appeared on Broadway in "Embezzled" (1944) and "Crime and Punishment" (1948). Sanford Meisner directed "The Time of Your Born August 31, 1905, and raised in Brooklyn, New York, Sanford Meisner Life" (1955) and acted in "The Cold Wind and the Warm" (1958). graduated form Erasmus Hall in 1923 and attended The Damrash Institute of Music (now Juilliard), where he studied to become a concert pianist before Sanford Meisner left The Playhouse in 1958 to become director of the New talking his way into a job in a Theater Guild production of Sidney Howard's Talent Division of Twentieth Century Fox. He moved to Los Angeles, where They Knew What They Wanted. Sanford Meisner realized then that acting, which he was also able to cultivate his career as a film actor. Sanford Meisner starred really "dug at him", was what he was looking to find. In 1931, a fervent group in Odets' "The Story on Page One" (1959), "Tender Is the Night" (1962), and of young actors, including Sanford Meisner, Stella Adler, Lee Strasberg, and later "Mikey and Nicky" (1976). Harold Clurman, among others, joined together to establish the Group Sanford Meisner returned to the Neighborhood Playhouse as head of the Theatre. It was the first permanent theatre company that brought "Method" Drama Department from 1964-1990. In 1985 Meisner and James Carville co- acting, rooted in the methods of Konstantin Stanislavsky, to practice and founded The Meisner/Carville School of Acting on the Island of Bequia in the prominence in America.
  • Acting Methods Through Video for the Novice and Veteran Actor

    Acting Methods Through Video for the Novice and Veteran Actor

    Columbus State University CSU ePress Theses and Dissertations Student Publications 5-2020 Staying in the Moment: Acting Methods Through Video for the Novice and Veteran Actor Cortland D. Ellis Follow this and additional works at: https://csuepress.columbusstate.edu/theses_dissertations Part of the Theatre and Performance Studies Commons Recommended Citation Ellis, Cortland D., "Staying in the Moment: Acting Methods Through Video for the Novice and Veteran Actor" (2020). Theses and Dissertations. 384. https://csuepress.columbusstate.edu/theses_dissertations/384 This Thesis is brought to you for free and open access by the Student Publications at CSU ePress. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of CSU ePress. COLUMBUS STATE UNIVERSITY STAYING IN THE MOMENT: ACTING METHODS THROUGH VIDEO FOR THE NOVICE AND VETERAN ACTOR A THESIS SUBMITTED TO THE HONORS COLLEGE IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR HONORS IN THE DEGREE OF BACHELOR OF ARTS DEPARTMENT OF COMMUNICATION DEPARTMENT OF THEATRE COLLEGE OF THE ARTS BY CORTLAND D. ELLIS Copyright © 2020 Cortland D. Ellis All Rights Reserved. STAYING IN THE MOMENT: ACTING METHODS THROUGH VIDEO FOR THE NOVICE AND VETERAN ACTOR By Cortland D. Ellis A Thesis Submitted to the HONORS COLLEGE In Partial Fulfillment of the Requirements for Honors in the Degree of BACHELOR OF ARTS COMMUNICATION & THEATRE COLLEGE OF THE ARTS Approved By Dr. Bruce Getz, Committee Co-Chair Professor Brenda May Ito, Committee Co-Chair Associate Professor David Turner, Committee Member Dr. Susan Tomkiewicz, Committee Member & Associate Dean Dr. Cindy Ticknor, Dean ABSTRACT High school is a great place to start acting and learn about theatre, but it can also be a place where actors develop substandard practices.
  • Is Stanislavski's “System” Still Relevant to the American

    Is Stanislavski's “System” Still Relevant to the American

    IS STANISLAVSKI’S “SYSTEM” STILL RELEVANT TO THE AMERICAN THEATRE? | Candidate Number: 2191 | Word Count: 4,564 (w/o in-body citations) 1 Contents Introduction………………………………………………………… 3 Stanislavski’s Introduction of the “System” to America..…………. 4 The “System”……….……………….……………………………… 6 Acting Techniques in Modern America…..….………………………8 Argument: Is the “System” still relevant?..…….…………………… 9 Conclusion….……………………………………………………… 16 References…….…………………………………………………… 18 2 Introduction “The human being who acts is the Human being who lives.” (Strasberg 1965: 98) I choose to start my essay with this quote because I believe is encapsulates why I want to pursue acting as a career. With this, it is important to note that theatre and acting in particular plays an extremely important role in my life and has consciously affected me in many ways. With that being said, acting and theatre in general would not be what it is today without the ideas and theories presented by “the father of modern acting,” Constantine Stanislavski. This is a commonly known fact throughout the theatre world which is why I found it interesting when I began to look more heavily into acting as a career and how to truly pursue it, that his theories were not commonly taught in modern America acting studies. This brought me to the question “Is Stanislavski’s ‘System’ still relevant to American theatre?” In addressing this question it would appear that the “System” is not as relevant as it once was for many reasons. The actual “System” is very rarely taught today, one of the most commonly taught methods contradicts and negates many of the ideas of Stanislavski, and at the time it was presented to American theatre, it was not fully finished.