Acting Techniques

1. Acting Techniques Drama 30

2. Stanislavski System Konstantin Stanislavski was a Russian actor, producer and director born in 1863 Considered as the father of modern acting Initially required that an actor use his emotional memory when approaching the work Required an actor to recall past experiences and memories and bring them into the character Involves looking at the script closely and analyzing the path of the character How would I react if this was really happening to me?” Stanislavski’s ideas have evolved into various branches over the years

3. Strasberg’s Method Acting Lee Strasberg was a Polish American actor and director born in 1901 Actors should intensify their connections to the work by imitating their character’s experiences within their real lives Similar to the Stanislavski’s System, but deviated due to the belief that it was not sufficient as it is unlikely that actors come from the same circumstances as their characters Uses the practice of “Substitution,” where the actor temporarily “becomes” the character he/she is portraying Actors who practice this technique sometimes go to extremes to gain a deeper understanding of their characters’ situations, lifestyles, emotions, and thought processes.

4. Meisner Technique Sanford Meisner was an American actor and acting teacherborn in 1905 His technique is based around the concept of “truthful acting” Broke from the principle of using emotional memory, instead focusing on achieving authenticity under any given imaginary circumstance The actor acts on their emotional impulses – essentially, leading with their heart as opposed to their brain. Used “Repetition Exercise,” which was designed to help actors use their own natural instincts and lose their dependence on their scripts Used “emotional preparedness” to help students experience their character’s emotions on stage, as opposed to acting these emotions.

5. Stella Adler Technique Stella Adler was an American actress and acting teacher born in 1901 Built off of the Stanislavski System, but imagination is emphasized over emotional recall Believed that drawing from personal memories as an approach to acting was too painful and not needed to achieve authenticity To understand the character, the actor studies the circumstances of the text Encouraged her students to have a strong mission or point of view and make strong choices based upon their imaginations and personal interpretations of their characters Taught students to expand their knowledge base and experiences, so they have more to draw from when delivering performances

6. Michael Chekhov Technique Michael Chekhov was a Russian American actorand director born in 1891 Also studied under Stanislavski but believed it led to acting that was too naturalistic in style Endeavored to uncover ways through which actors could tap into their subconscious minds and the universal experience of humanity Actors should not limit their characters by drawing from their limited, conscious, worldly experiences Used the “psycho-physical approach” which allowed the subconscious mind to be accessed through physical gestures and other exercises that were seemingly “external” in nature

7. Brecht Acting Technique Bertolt Brecht was a German theater practitioner and playwright born in 1898 Is considered the father of “epic” theater Used Verfremdung, the concept of alienation from the actor to the audience, and from the actor to the written role and Gestus, the mimicking of social relationships through detailed choices of movement Wanted the audience to think about society and change it Emphasis is placed on gestures, which demonstrate emotions. Includes acting formats such as stereotypes, using placards, ensemble and montage

8. Practical Aesthetics Developed by American actor William H. Macy born in 1950 and American playwright David Mamet born in 1947 Technique is based on the practice of breaking down a scene using a four-step analysis: ‘Literal’- what is happening in the present moment ‘Want’- what one character wants the other character to say or do. ‘Essential Action’- The precise want of the character is recognized, establishing the difference between the character and the actor. ‘As if’- This relates the essential action to the actor’s own life. Actors’ attention goes to text-analysis, script work, and a literal understanding of a scene’s driving events

9. Other Acting Techniques of Note • Uta Hagen: Stressed realism above all else, achieved through what she initially called “substitution” or “transference”. Involved actors putting their own experiences inside the circumstances of a scene. • Viola Spolin: Helped develop a technique for directors to teach actors the ability to become entirely present and spontaneous during a performance, thus making choices in real time as they would in reality. She created many acting exercises, known as “theater games,” and is considered the mother of improv theater. • The Origins of Acting and "The Method" • https://youtu.be/CfPz1c07IsQ?t=553