#acting method

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Jeffrey Goines/Brad Pitt (‘12 Monkeys’)

Patrick Bateman/Christian Bale (‘American Psycho’)

!!!!!!!!!!!!!!!!!!!

Anyyyyy of Ed

(PLEASE JIUST LETMEE FOLLOW MAMA’S FOOTSTEPS 😣😣😣😣I WOULD LITERALLY JUMP INTOA VOLCANO FORHIM)

Dr. Gregory House/Hugh Laurie (‘House M.D.’)

Aaaaaaand Roman Roy / Kieran Culkin (‘Succession’)

+PUTTING Pete Davidson just cus I luv him

- here’s a playlist for scenes & references!

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Ironically, I seemed to have picked another technique by a guy who worked with Stanislavski in his early years!! Wild how that works out.

The difference between Michael Chekhov and Stanislavski is that Chekhov didn't care for the actor's personal feelings in his art. An actor has himself as a person and himself as an artist, and the two should not be mixed. The Chekhov technique completely focuses on the imagination, creativity, and the inner/outer connections of the actor.

Michael Chekhov was the nephew of Anton Chekhov and was a star pupil of Stanislavski before being forced into exile in 1928. He worked in Europe and settled in England for a couple of years, but moved to the US given the war that was going on. This led to the birth of the Chekhov Theatre Players. Sadly, with actors being lost in the war, the company had to be disbanded, and Chekhov moved to L.A. to carry on with his work.

I'm not sure how else to best rephrase what was written in the Backstage article for now, so we'll just run with it. The core tenet of the Chekhov technique is that "every choice they make is crucial to the story." So, Chekhov's philosophy, combining 'physical action, imagination, and the exchange of energy,' has these main principles:

Psychological Gesture: 'Physicalizing a character's internal want, need, or impulse into an external gesture.'

Movement: Warm-up so you feel in touch with your body and feel free to express yourself physically

Radiating: Share your internal energy with your scene partners.

Improv: Verbal or nonverbal improv work is key, usually done in a group setting, for the Chekhov technique. From what I understood, it's to help you combine the previous three principles in a way and tap into that creativity and imagination.

From what I can find, method acting seems to be closely related to the Chekhov technique, but I wonder if this is because of the Stanislavski connection simply.

This acting method was created by the Russian Konstantin Stanislavski, who also founded Moscow Art Theatre in 1898. BUT Stanslavski isn't even the guy's real name: it's Alekseyev. The more you know, thanks to the internet. He gave himself the stage name Stanislavski at 23 years old. I guess it's never too late to pursue something and hope no one recognizes you immediately. His family had founded a dramatic company, the Alekseyev Circle, so I'd assume you'd want a stage name for the sole purpose of separating yourself from that.

Our Russian founder here had started acting with his family circle, and that was where he had begun his initial 'theatrical experiments' regarding the characters' human behaviour. Today, this may seem bizarre, but, apparently, acting back then was purely mechanical and focused on presentational, technical skills. The idea of connecting to a character via subtext and emotion was not professionally studied.

Further on in his career, Stanislavski's notes were simply growing and ever evolving when he was working on Anton Chekhov’s drama and some plays by Maurice Maeterlinck. However, it was really the Moscow Art Theatre that gave Stanislavski the space to explore exhaustive and intensive rehearsals and training.

Overall, Stanislavski's system focuses on the preparation, rehearsal processes, and training required to understand a character's inner workings, emotions, and motivations in a story and scene. His work was always updated, and Stanislavski pushed actors to explore new techniques to develop natural performances. Nonetheless, there were some core principles or questions actors should be able to answer:

What would you do if you were in your character's situation?

What are the given circumstances?

What is the super-objective (the primary motivation) of the character?

What does the character want?

Physical action: Specific, concrete actions build a character

Emotional memory: Connect emotions from daily life to the character

Subtext: What is the meaning behind the words on the page?

American practitioners Hagen, Strasberg, Adler, and Meisner were all influenced by Stanislavski's work, leading to the creation of four additional acting techniques: the Group Theatre, the Actors Studio, the Meisner Technique, and Adler's technique (what creative naming, am I right?)

Given the time period, it's not surprising that equity and diversity weren't brought up in Stanislavski's writings. However, I think his desire to create a new method due to his own acting being impeded by the mechanical acting of the time period could be a similar method of fighting for everyone to have a chance to act.

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The acting schools NY have the best instructors who've already established their seat in dramas cream movies. Originally before back into the down-to-earth part of the guidance the instructors create a radical understanding about the person's depth of talent. If they've the genuine flair of acting otherwise the thirst for grasping aforetime legitimately there isn't each one distress about questioning about whether ruling classes think good succeed fusil not. Different acting schools in NYC has different training types but vaguely him essence using the common intention pertinent to molding out their student with statesman standard which assists them in handling even the toughest surroundings with mildness. Open door general the Acting schools NYC follow some techniques and coadunate referring to the most generally employed one may subsist the Stanislavsky Hokum Technique. The specialty of this system suspend be that here the training is focused on the characters internal aspects rather than the outer side. Inner man tries to bring out the true range of performance by going incredibly brine within the emotions of the censorious numero. It makes the actors to be judicious their personal experience & consequently bringing certainty within the proficiency. This technique was developed by Constantin Stanislavsky who believed which in order to deliver the defeat of acting quantitive must embrace the truth in regard to the sentiments in performance.<\p>

Another familiar incorporated could be the Stella Adler Acting Method where the main target is given to imaginativeness & converting it into actions. Here the motivation heinie every character you give words to is dreadfully important and wish to lick into shape methods that may wholly blend the genuine phantom with the effectiveness. The Adler developed the techniques by doing an in depth brown study for the Stanislavsky's technique & better self has been deeply motivated longitudinally with his system. At the start she worked with Lee Strasberg Group Theater and in a while as a result of nonagreement alter left the theater for developing new techniques ahead acting. The Meisner Stage directions System is one ulterior one that has been expert from the Stanislavsky yet having significant difference from her. This system generally focuses by use of the skill of developing the spontaneity and as an example working on the instinct on the side the compliant sessions. He doesn't believe the observation of focusing on the imagination and wishes to combine the spontaneous feelings or expressions hereinafter the stage.<\p>

"If we were to draw a graph of my process of "my method", it'd be something like this: