| In this article we're going to discuss what is considered | | | | not use memories from their own past to bring up |
| the most difficult form of acting, that of method acting. | | | | emotion, but instead use circumstances from their own |
| The art of method acting was made popular by Lee | | | | imagination. She also taught that action was very |
| Strasberg at The Actors Studio and the Group | | | | important. It wasn't so much what we said but what |
| Theatre in New York City during the 1940s and 1950s. | | | | we did while we said it. |
| It was actually derived from the Stanislavski System | | | | Contemporary acting teachers, names like Jason |
| who pioneered similar ideas in his teachings, writings, | | | | Bennett, combine many of the acting theories of the |
| and acting at the Moscow Art Theatre which was | | | | last generation of acting teachers. These methods |
| formed in 1897. | | | | utilize a number of devices such as using the actor's |
| Some of Strasberg's students included some very | | | | imagination, calling on his or her life experiences to dive |
| famous actors such as Paul Newman, Al Pacino, | | | | into the part, and various forms of psychology where |
| James Dean and a ton of others. The list is endless. | | | | actors are taught to imagine what a person would |
| Method acting is considered the most difficult to teach | | | | psychologically do when confronted with the situation in |
| and to learn. Its main characteristic is that it lacks any | | | | the script. For example, how would a person truly |
| specific or technical approach to acting. It is what the | | | | react if another person pulled a gun on them and was |
| supporters of this type of acting refer to as the | | | | ready to shoot them? What terror would they feel? |
| alternative to the clichéd, unrealistic, and | | | | From that the actor tries to convey that psychological |
| so-called rubber-stamp acting. In other words, it is | | | | terror in the performance. |
| based in realism and realistic emotions. | | | | Bennett also worked on what is called the use of |
| Because there are many versions of method acting | | | | human archetypes. Archetype work is rooted in |
| the exact approach depends on the particular version, | | | | Jungian Psychology and in the works of Michael |
| which can include such practices as substitution acting | | | | Chekhov. Chekhov was very closely associated with |
| or what is called emotional memory. | | | | Stanislavski. As Chekov's work evolved, he broke |
| Sanford Meisner, who was another Group Theatre | | | | away from Stanislavski, Strasberg and the original |
| pioneer, taught a closely related form of method acting. | | | | members of The Group. Many believe that later in his |
| He differed from Strasberg's emotional memory | | | | life, Stanislavski began to recognize that Chekov's |
| theory and taught one that revolved around "fully | | | | work was very important in developing modern acting |
| immersing oneself in the moment of a character, and | | | | theory. |
| experiencing all sensations as the character would." | | | | Even though method acting is very hard to teach and |
| Stella Adler had another approach to method acting. | | | | even harder to learn, it is still regarded as the most |
| Her technique is based on the idea that an actor must | | | | realistic form of acting that there is. |