| There are so many acting techniques out there. | | | | train to shift focus from themselves to their |
| How do you know which acting technique is right | | | | acting partners so they can react truthfully to |
| for you? Below are some quick pointers to make | | | | what is happening in the moment. They rely on |
| sense of it all and to help actors choose an acting | | | | their imagination rather than their memories to |
| class based on the type of acting training they | | | | prepare for a scene. (Stella Adler, another student |
| want. | | | | of Stanislavski, stresses the importance of |
| 1) The Stanislavski System | | | | imagination in her acting technique.) |
| First, note that all the major acting techniques | | | | 3) Other Acting Techniques |
| currently taught in American acting schools are | | | | Stanislavski, "The Method", Meisner, Stella Adler... |
| based on the work of Constantin Stanislavski, a | | | | These are the acting techniques most actors |
| Russian actor and director who developed an | | | | have heard about, but if you've already explored |
| acting method to help actors be real on stage. | | | | these acting methods and want to try something |
| Here are a few highlights of the Stanislavsky | | | | new, there are plenty of acting classes that teach |
| system you'll want to be familiar with as an actor: | | | | lesser known techniques like Anne Bogart's |
| - In order to believe in the given circumstances of | | | | Viewpoints method, Viola Spolin's improvisation |
| the play, Stanislavsky actors use the magic if: | | | | technique or Tadashi Suzuki's physical training for |
| "What if this was really happening to me?" | | | | the actor, to name a few. |
| - Actors break down the script into objectives | | | | 4) Which technique to choose |
| (what the character wants to accomplish) and | | | | Is there one method that is superior to the |
| actions (what the character can do to try to | | | | others? Each one of the major acting techniques |
| reach his objective). Each action is an active verb | | | | has been studied and used by great actors, so |
| (to help, to hurt, to convince) that helps the actor | | | | the point is not which acting technique is the best, |
| concentrate on doing rather than feeling. | | | | but which one works for you. |
| - Actors learn to relax their muscles and practice | | | | Think about what you'll be doing in class. Are you |
| concentration so they can focus on the given | | | | more interested in doing a lot of solo exercises or |
| circumstances of the play and deal with stage | | | | do you respond more to improvisation and scene |
| fright. | | | | study? Also consider the kind of acting you want |
| - Actors access their own memories to call upon | | | | to do. For example, The Method works great for |
| emotions needed to play certain scenes and | | | | film acting while a Spolin class is a great choice if |
| acting roles. | | | | you are mostly interested in theater and |
| 2) Method and Meisner | | | | improvisation. |
| The other two major acting techniques taught in | | | | Also think of your strengths and weaknesses as |
| acting schools are method acting (also known as | | | | an actor when you decide what to study next. |
| "The Method") and the Meisner technique. Both of | | | | For example, a Viewpoints or Suzuki acting class |
| these acting techniques were inspired by | | | | is a good choice if you need to work on your |
| Stanislavski and both help the actor create real | | | | presence on stage or if you want to get more |
| thoughts and emotions under imaginary | | | | comfortable in front of an audience. |
| circumstances, but they do it very differently. | | | | Although it is important to try to pick the acting |
| Method Acting turns the focus inward. Actors | | | | technique that speaks the most to you now, |
| learn to use their five senses (sight, hearing, | | | | remember that acting school is not the end of |
| touch, taste, smell) to recall objects, experiences | | | | your acting journey, but the beginning. As your |
| and emotional memories. These sense memory | | | | career grows, you will adapt your acting training |
| exercises allow actors to draw from their own | | | | to different acting jobs and eventually develop |
| experiences in order to create the character and | | | | your own method, a unique way of rehearsing, |
| connect with the play. | | | | creating a character and finding the truth in a |
| Meisner Acting turns the focus outward. Actors | | | | scene. |