Constantine Stanislavsky is the Father of Today's Style of Acting

According to Brestoff (1995), even Stanislavsky refined and rewrote his theories up until his death. I have contended that not all systems will work for all actors in a given situation. Each of the “methods” might work for an actor at a given time. I think of them like tools, if I have to loosen a nut a socket, box or adjustable wrench will all get the work done, but one might work better in a given situation. Relating back to Stanislavsky, the grandfather, of modern acting techniques and his elements of

Stanislavsky believed that the key to truthful, great acting

Once actors can find some direction or purpose (objective or super objective) then it is easier, according to Stanislavski, to immerse themselves in the character. He noted

Edwards acknowledges that most stage actors have more rituals than he himself has, noting, “Actors in particular are pretty superstitious” but that does not carry over as strongly into the behavior of film actors. He said that it isn’t nearly as stressful to perform in front of a camera, because “Onstage, there are no second takes.” The fact that film acting is less risky- a blunder can be done over as many times as necessary- means many performers feel less pressure to perfect a performance the first time around, therefore needing less luck and relying less on magic and ritual. As noted in the 2011 edition of Appreciating Human Diversity, “Magic is used to establish control,” (Conrad P Kottak p. 495). There is a wide difference between the control a stage actor has when compared to a film actor. First of all, a stage actor is totally dependant upon other actors, while also being depended upon, for things like correct lines and reaction to move the story along. If a

To what extent was society’s perception of James Dean as a rebel the reason for his iconic status? James Dean was a worldwide admired screen personality, eventually becoming the centre piece for restless American adolescence in the 1950s. A Hollywood star whose rapid climb to fame also had helped hurl him into the eternal sanctuary of film greatness and has continued to entrance audiences with his acting abilities and trade mark attitude which still lives on today.

Therefor he believed it was important that all of the actors involved in the production to know and agree on the superobjective. The method of physical actions, This idea grew from Stanislavski's feeling that his actors were being overwhelmed by too much character and plot detail at an early stage of the rehearsal process. He believed this led them to try to hard, which resulted in physical and mental tension. In the last five years of his life Stanislavski explored a different approach to working on a production, in which the company began by telling the story of a play's plot through its main physical actions.

Bertolt Brecht and Constantin Stanislavski are regarded as two of the most influential practitioners of the twentieth century, both with strong opinions and ideas about the function of the theatre and the actors within it. Both theories are considered useful and are used throughout the world as a means to achieve a good piece of theatre. The fact that both are so well respected is probably the only obvious similarity as their work is almost of complete opposites.

Both authors examined the qualities of Brando’s acting that made his acting memorable. Neves investigated Brando’s acting style in the 1954 film On The Waterfront. Neves delved into how Brando’s method acting approach strengthened his role and focused on the psychological complexity Brando gave to the character. Whereas Krasner wrote about Brando’s role in the 1951 film A Streetcar Named Desire and explored specific details in his acting technique, such as his usage of mumbling and his rebellious wardrobe choices. Neves’ points proved to be the strongest, with his extremely in-depth analysis and use of psychology to explain Brando’s character’s actions. In the future, historians could analyze how Brando’s acting improved and became more memorable as he became older. Altogether, there were many reasons for Brando’s memorability, as shown by Neves’ arguments that the method style enhanced his acting, and as shown in Krasner’s arguments that precise details in his acting made him memorable, and further information on his memorability could be gained by studying how his acting became better over time.

In chapter one, Stanovich argues for a psychology supported by scientific research. He begins with The Freud Problem, a general outlook on psychology that primarily consists of Freudian-style psychoanalysis. Sigmund Freud was an Austrian neurologist best known for developing the theories and techniques of psychoanalysis. He is seen as the father of psychology. Freud based his approach to psychology on his own developed theories. Freud responded to the public 's misconception about psychology in a general way. He took notes about the several fields that existed in psychology. There is over fifty different divisions in psychology with psychoanalysis

Stanislavsky wrote three novels that discuss his acting method; An Actor Prepares, Building a Character, and Creating a Role. These books are from the perspective of a

In acting or with guided imagery, transference in part, is communication between entities. Hagen (1991) emphasized the importance of imagination and application of transferences with the character. An actor increases their ability to be open to other actors because of a sensitivity of transference; creating a meaning in a story. An actor’s training can expose him or her to multiple realities which may enable one to gain greater awareness while in a guided imagery experience.

While in the front stage the performer is aware that they are acting in front of people and acts appropriately to the given situation. But

I believe this is one of the most effective ways of acting, but in modern cinema this techniques has often been described as “dangerous” to the actor’s mental health. This is because the actor creates a new character by using his own experiences and reawakens emotional trauma that is part of his own life, and not that of solely the character.

Constantin Stanislavski believed that it was essential for actors to inhabit authentic emotion on stage so the actors could draw upon feelings one may have experienced in their own lives, thus making the performance more real and truthful. Stanislavski then created the technique, method acting, to do exactly that. Not only can method acting be rewarding, there are psychological consequences as well. It is important to study method acting so actors can know the dangers and psychological effects it can create. It can also help scientists understand theory of mind; the ability to gain the mindset of another person. Another subject method acting can help with is emotional recall and the emotion regulation it takes to use

Method acting is often misinterpreted as an acting exercise where the actor “becomes” the character, and keeps the persona of that character until they have completed their work. This misguided thinking has been promoted by pop culture and even sometimes by actors themselves. The Lee Strasberg Film & Theatre Institute defines the Method as when “actors use their imagination, sense and emotion to conceive characters with unique and original behavior, creating performances grounded in the human truth of the moment.” This definition focuses more on the relationship between the actor and their character, rather than both being one and the same. Method acting is not a new idea. It is thought to have been considered an acting exercise for