When she stopped working with him, her career declined. (1973) Respect for Acting, New York: Macmillan. If you’re doing an emotional memory and at the same time you start to get frightened and worried – the equivalent of the feeling 32 T RA IN I N G A N D E X E R C I S E S that you’ll get hysterical – that’s where the abstract /additional movement comes in. The breadth of this material reflects his contention that the director must know more than anyone and is responsible for everything having to do with the production. (1988) Stanislavski: A Biography, London: Routledge. Our new procedures are based on his work but go further, not dealing simply with the creation of reality, but with the expressiveness of reality; I have defined the sequence of exercises much more precisely and clearly and have added a certain degree of clarity and definition to the basic procedures of Stanislavski, and for that matter, my own teacher Boleslavsky. Vakhtangov didn’t want the villainess to be just theatrical, and when it was time for her speech, she had a real motivation for saying those phony lines. Lee Strasberg’s journey toward his life in the theater began in his twenties, when, to feed his cultural and creative interests, he joined Students of Art and Drama, an amateur club that met at the Chrystie Street Settlement House in the early 1920s.

Catch the deep inner quality of the poem. Why did he decide to do this particular play? Chekhov developed his own procedures to deal with his problems. When drawing from emotional memory on stage, the actor must never lose control of himself. I knew him as an actor and had seen him in many productions.

The actor is coming fresh to the play, and you have to involve him with the work through active participation. Photo courtesy of Lebrecht Music & Arts 179 Giovanni Grasso, Italian actor (1873–1930).
Some become stars before they achieve technical maturity. Eleanora Duse and Sarah Bernhardt Sarah Bernhardt and Eleanora Duse represent two opposing approaches to the art of acting. We only assign the pain exercise if the student seems quite all right and in control. The sound should be committed, not frustrated. It was a sad play and it got sadder and sadder. Directors will learn much about lighting and staging from studying the extraordinary compositions of the genius master painters. Lopatkin’s desire to make contact with a class higher than himself is not at all conveyed by that behavior. During the first part of the exercise – what I call the song – the actor stands straight and at ease before the audience.

When the actor speaks without vibration, the tone is often dead. I told him what I wanted was like a medieval castle that has to be stormed and knights are fighting.

At certain moments in the scene, the doors opened and people looked in. It looked as if he was stealing up on the captain to attack him because of a previous argument. Birth! Otherwise, the sound has no value.

However, the director in films has the opportunity to fix what the final production will be when he gets to the shooting and the editing.

It has nothing to do with the language; the actor, without the slightest awareness, has memorized all the punctuation marks of a script – where there’s a period for the sentence, a comma, a semicolon, a dash. An actor came in, dressed all in brown, a stock actor, and I asked him if he read the part.

If the sound is compulsive and continues on too long, it can be habitual. It’s a life and death struggle between them. While teaching a director’s unit at the American Theater wing, someone brought in an offbeat play, and I tried to describe to the student the way the director must get a vision of the set and build a world for this play. Braun, E. (1969) Meyerhold on the Theater, New York: Hill and Wang. Dance like a moth around a flame. But he soon realized that the classes were being taped.

The artist picks the historic moment, not just the realistic moment.

First, because of the methodology she used to edit it. Photo courtesy of Ken Regan, Camera 5 76 Anna and Lee Strasberg at Joe Allen’s Restaurant, Los Angeles, 1980. Feel the weight, temperature, and texture. The first thing to do when you read a poem is to stop acting. That is what makes for greatness. At the same time, it was an extremely violent period. He paints and he’s a little bit of an intellectual. Relax the throat. Look in the wrong places for the booze.

I feel Sulergitsky had a great deal to do with systematizing Stanislavski’s work and handing it on to the students. Lewis, R. (1980) Advice to the Players, New York: Harper & Row.

Hagen, U. Stanislavski’s great pupil Eugene Vakhtangov saw the flaw in his mentor’s approach, and didn’t make the same mistake.
The exercises themselves aren’t necessarily done with the logic of the physical movements normally associated with the behavior related to that object, because then the exercise may become external and cause the muscles to pull ahead and imitate. As each audition ended, the entire production team, including the director, would turn to look at me and get my reaction before they commented. Deal with the situation on a human basis, not a dramatic basis. Life is so dull and not going very well, but who knows what’s better? They are all very precisely described. The same adjective is emphasized. On the contrary, you have a whole reservoir of response to make use of. I saw that production in Moscow in 1934, and it led to me to appreciate how a director brings the meaning and reality of the words and the behavior alive. Not everything Olivier acted in worked well, but to do all the parts that he’s done and to remain with the theater when he could have gone to Hollywood takes courage, and the kind of courage most of the people today don’t seem to possess. Part four, “Directing and the Method”, is a very interesting account of Strasberg’s work as a director.

The organization of the book recreates the four-hour sequence of an acting class that is preserved today at the Institute: Part 1 (Training and exercises), Part 2 (Characters and scenes) and Part 3 (Scene critiques). Be precise. Many great modern artists are very capable of quite realistic figures; however outstanding modern artists refine their work until details are lost and only certain essential things come about. Built into the personal object is a greater degree of responsiveness, meaning, and experience; therefore it stimulates reactions more powerfully. The exercise feeds you. And never say, “I don’t know what’s happening.” If the actor thinks this, there is only one legitimate response: “What’s the matter with me that I don’t know what’s happening?” You can’t let yourself off the hook. We rarely have difficulty with memorization, but we mustn’t adhere to the lines mechanically. The Taming of the Shrew by William Shakespeare Remember, Kate is aristocratic and in her own environment. Please try again.

This reduces habit. There is an additional procedure which I sometimes use if there’s a problem with expression. In the Vakhtangov Theater it started the same way. Re-live sensations. There’s an individual approach for each actor, and a general sequence of the exercises which the teacher adjusts to each individual. You must be undressed and putting on your clothes while coming back out on stage like a bat out of hell. Prepare by acting out the previous scene off stage by yourself, evoking a reality that sends you onto the stage with the proper motivation and behavior. I draw students out and ask them questions about the meaning of the poem and what fascinated them about it. She flutters. People asked him why he still practiced. The purpose of the movement is to draw your attention to muscles that are tense to make sure they respond. There are too many complaints and ego conflicts. Develop one or two of the objects which are the inciting factors. This work and the revolutionary sequencing of the relaxation, sensory, and emotional exercises injected a new realism and aliveness into the craft of acting by fusing the actor’s own personal experience with a character’s psychological inner life. Acting: cinema vs stage Actors have to watch out for casual unconscious habitual movements when acting for the cinema. So strongly are these habits linked and set that they work unconsciously, without deliberate intent. You must become aware of yourself and your body, like the double awareness of the writer who corrects his own punctuation. Will she get frightened, or will she become embarrassed? He then said to the actors, “You’re the family that lives in this place.

In that play, the actors used hand gestures. She’s not a trained technical actress in your sense of the word. The degree of experience and the extent of the greatness that the Italian actors were able to bring to the stage is astonishing. The character, I felt, should speak not just as a Jewish pedlar but – in a more mythic sense – as a “wandering Jew.” During the understudy rehearsal, I played the part my way, and the director agreed that it worked better.

Another important procedure is to make your work personal. It’s like the great Rembrandt when he was young. Use a substitution of a person that incites an emotional reaction for you. It was very dramatic. When we needed a riot, we created a riot, and when we needed the singing and dancing, we created it all offstage.

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