This is an old revision of this page, as edited by 68.56.56.151(talk) at 22:42, 25 June 2002(method acting, a technique for diligent, pragmatic, and experienced actors). The present address (URL) is a permanent link to this revision, which may differ significantly from the current revision.Revision as of 22:42, 25 June 2002 by 68.56.56.151(talk)(method acting, a technique for diligent, pragmatic, and experienced actors)
Method Acting is the endevour to apply natural rules and laws to the theatre which can aid an actor in his or her proccess of playing a role. This approach, characterized by any specific or technical approach to acting, is usually the antithesis of cliche, unrealistic, and so-called rubber stamp acting. Depending on the exact version taught by the numerous directors and teachers who claim to propogate the fundementals of this technique, the process can include various ideologies and practices such as the the extremely notable "what if", "substitution", and "emotional memory"'s.
The modern movement often called method acting is also often referred to as "the Stanislavski System" after Konstantin Stanislavski who pioneered the ideas in his teachings, writings, and acting. (his most distinguished books are the autobiography "MY LIFE IN ART", and his trilogy of books set in a fictionalized acting school as a pretense for his own teachings, "An Actor Prepares", "Building A Character", and "Creating a Role.") Many others have taken the place of Stanislavski as prominent method teachers. Perhaps the most successful and worthwile being Michael Checkov, Anton Checkov's nephew, Vantankov, a Stanislavski student and protige, Uta Hagen, the author of "Respect for Acting", Richard Boleslavski, and most importantly Lee Strasberg who had a great impact on both the Actors Studio and The Group Theater, which were method acting strongholds, labs for experimentation, and the equivalent to nursery schools for many of the greatest actors in the late 20th century.
Though method acting has often been misunderstood or stereotyped to negative effect, causing critisism and even splintering among method acting factions, it remains, as a whole, an enormously succesful movement. One which allows both creative freedom and room for the individual nature of it's participants, but also creates concrete ways of tackling the more abstract portions of the art. For more information on Method Acting or for discussion email swoolf21@comcast.net.
