Summary of "Schools of Acting in Theatre"

Summary of “Schools of Acting in Theatre”

This lecture provides a comprehensive overview of various influential schools of acting in theatre, focusing on their principles, methodologies, and key figures. It traces the evolution of acting approaches over the last century, highlighting how different pioneers developed distinct techniques to help actors create truthful, believable, and emotionally rich performances. The discussion covers both classical traditions and modern methodologies, emphasizing psychological realism, physicality, imagination, and ensemble collaboration.

Main Ideas and Concepts

Definition of Schools of Acting: Not merely physical institutions, but systems or sets of principles and techniques developed by pioneers to guide actors in creating performances.
Historical Context: Acting schools have evolved over the past 100 years, influenced by classical traditions like Greek and Sanskrit theatre, adapting to new sensibilities and creative needs.
Purpose of Acting Schools: To provide actors with tools and methods to portray characters authentically, emotionally, and physically, often reflecting social, psychological, and artistic concerns.

Detailed Breakdown of Major Schools and Techniques

1. Stanislavski’s Method (Stanislavski System)

Developed by Constantin Stanislavski, a Russian actor and director.
Focuses on psychological realism and emotional truthfulness.
Key elements:
- Emotional Memory/Affective Memory: Actors recall personal emotions to evoke genuine feelings.
- Given Circumstances: Understanding the character’s background, relationships, and situation.
- Objectives and Super Objectives: Identifying what the character wants in a scene and overall in the play.
- Relaxation and Concentration: Physical and mental preparation to fully inhabit the character.
- Ensemble Work: Emphasizes collaboration and responsiveness among actors.
Example: Eugene O’Neill’s Long Day’s Journey Into Night performed using this method.

2. Lee Strasberg’s Method (Method Acting)

American director and teacher, influenced by Stanislavski but added new elements.
Emphasizes deep emotional recall and physicality.
Key features:
- Emotional/Sense Memory: Recall sensory details to authentically portray emotions.
- Physical Actions: Using movement and gestures to access emotions.
- Substitution: Using personal experiences similar to the character’s to evoke emotions.
- Relaxation, Concentration, and Impulse Control: Regulating emotional responses.
- Immersion: Deep research and experimentation with character’s personality facets.
- Emotional Truthfulness: Authentic and honest performance.
Notable actors influenced: Marlon Brando, Al Pacino, Robert De Niro.

3. Stella Adler Technique

American actor and teacher, also part of the Group Theatre.
Focuses on body language, imagination, and script analysis.
Key principles:
- Imagination: Vivid visualization of character and context.
- Script Analysis: Understanding objectives, obstacles, and character arc.
- Physicality and Vocal Expression: Developing character through body habits and voice.
- Emotional Authenticity: Drawing on emotions without relying solely on personal memory.
- Actor’s Responsibility: Using acting to engage socially and politically, promoting empathy and change.

4. Uta Hagen’s Approach

German-American actress and teacher, author of Respect for Acting.
Emphasizes substitution and specificity.
Key concepts:
- Substitution: Using personal memories to connect emotionally.
- Objective and Obstacle: Understanding what the character wants and what blocks them.
- Specificity: Precise choices in physical, vocal, and emotional expression.
- Moment-to-Moment Truth: Honest, spontaneous reactions in the scene.
- Sense of Reality: Grounding performance in believability.
- Character Analysis: Detailed study of the character’s motivations and relationships.

5. Michael Chekhov Technique

Russian actor and teacher, nephew of playwright Anton Chekhov.
Combines Stanislavski system with movement, voice, and imagination.
Key elements:
- Psychological Gesture: Using physical movement to express inner emotional states.
- Imaginary Body: Visualizing the character’s physicality internally.
- Centers and Qualities: Exploring energetic centers (ease, form, beauty) in characters.
- Atmosphere: Creating mood that influences actor interactions.
- Archetypal Gesture: Using universal symbols to deepen performance.
- Transformative Power: Exploring undiscovered aspects of self through characters.

6. Anne Bogart’s Viewpoints

American director who adapted the Viewpoints technique from choreographer Mary Overlie.
Focus on physical and spatial awareness.
Key notions:
- Spatial Relationship: Exploring proximity, orientation, and movement in space.
- Kinesthetic Response: Responding instinctively to movement impulses.
- Tempo: Varying speed and rhythm of movement.
- Duration: Length of movements or silences.
- Shape: Creating physical forms and patterns with the body.
- Ensemble Collaboration: Shared vocabulary and spontaneous co-creation.

7. Jacques Lecoq Method

French actor, mime, and director.
Emphasizes physical expression and movement over voice or inner reality.
Key features:
- Neutral Mask: Expressionless mask used to explore presence and movement.
- Physical Expression: Body as primary communication tool.
- Gesture and Movement: Developing character through physicality.
- Clowning: Incorporating humor, vulnerability, and spontaneity.
- Physical Dramaturgy: Using movement and space to shape narrative.
- Ensemble collaboration is also emphasized.

8. Sanford Meisner Technique

American teacher focused on emotional truth and active listening.
Key aspects:
- Repetition Exercises: Building truthful reactions.
- Living Truthfully: Acting authentically in the moment.
- Emotional Preparation: Preparing emotionally for scenes.
- Moment-to-Moment Reality: Reacting honestly to scene partners.
Influential actors: Robert Duvall, Diane Keaton, Jeff Goldblum.

9. Classical Acting Traditions

Rooted in Ancient Greek and Roman theatre.
Emphasis on rhetoric, vocal training, physicality, and emotional truth.
Actors trained in cultural and historical contexts of plays.

Summary Table of Methodologies

School/Teacher Key Concepts / Techniques Focus Area Stanislavski Emotional memory, given circumstances, objectives, ensemble Psychological realism Lee Strasberg Sense memory, physical actions, substitution, immersion Emotional authenticity Stella Adler Imagination, script analysis, physicality, social responsibility Imagination and social context Uta Hagen Substitution, specificity, moment-to-moment truth Precision and reality Michael Chekhov Psychological gesture, imaginary body, archetypal gesture Movement and imagination Anne Bogart (Viewpoints) Spatial relationship, tempo, shape, ensemble collaboration Physical/spatial awareness Jacques Lecoq Neutral mask, physical expression, clowning, physical dramaturgy Physical theatre and movement Sanford Meisner Repetition, emotional preparation, living truthfully Emotional truth and listening Classical Acting Rhetoric, vocal and physical training, cultural context Classical traditions

Speakers / Sources Featured

Lecture Speaker: Unnamed instructor from “Studies in Theater Mo’s Program” (primary narrator and explainer).
Pioneers and Theorists Discussed:
- Constantin Stanislavski (Russian actor/director)
- Lee Strasberg (American director/teacher)
- Stella Adler (American actor/teacher)
- Uta Hagen (German-American actress/teacher)
- Michael Chekhov (Russian actor/teacher)
- Anne Bogart (American director)
- Jacques Lecoq (French actor/mime/director)
- Sanford Meisner (American acting teacher)
Additional References:
- Eugene O’Neill (playwright, referenced in relation to Stanislavski)
- Mary Overlie (choreographer, originator of Viewpoints)
- Notable actors influenced by these methods (e.g., Marlon Brando, Al Pacino, Robert De Niro, Robert Duvall, Diane Keaton, Jeff Goldblum)

Conclusion

The lecture emphasizes the diversity and richness of acting schools, each offering unique tools and philosophies for actors to create truthful, compelling performances. Understanding these methods is crucial for students and practitioners of theatre, as they provide frameworks to explore character, emotion, physicality, and collaboration in performance.