Method Acting Essay

Emotions are used in everyday life, whether it be just a simple smile that makes happiness disperse in your brain, or a death of a loved one that causes sadness. The basic emotions are joy, interest, surprise, sadness, anger, disgust, contempt, fear, shame, and guilt. The way we see emotion in ourselves and others can be very complex because we sometimes assume they feel a certain way just based on their actions or even facial expressions. When emotion is discussed in psychological terms, it is not based on one thing, instead it’s a mix of bodily arousal, expressive behaviors, conscious experience. Many theories try to explain how emotion works.

Emotions are a necessary part of our whole humanity. They may be more than we have learned to be comfortable with, but they are not too much.

Hochschild’s discussion of feelings allows us to understand how our feeling provides us with the bearings and guidance we need to reach a sense of both subjectivity and objectivity. The next question is: what do we do with this knowledge? According to Hochschild, we need to manage our feeling, either by surface or deep acting, in order to manage our display of feeling in the world. Hochschild (2003, p. 35) is convinced that all of us do a certain amount of acting, that self is performed. In understanding how surface and deep acting is accomplished, and in explaining its connection to emotion, Hochschild used the work of Stanislavski (1965), who is known as the father of ‘method acting’.

I can try though. Feeling another person’s pain or joy brings me to these emotions with a choice. Do I accept these as my own? Are they “my character” or “me?” Sometimes there isn’t a difference. However, I always know that pure excited emotion is who I am and why I love acting’s idea. I am a shy person. Which is why I have gravitated towards acting so much. What is the actor’s job? What does he do? Well, acting is being real, interesting, and conveying specific emotions towards the

This helps to allocate their thought process of how they think and feel. This then guides the way it makes them feel also the thought process behind it. Emotion leads to behavior; which influences how we think and feel.

Aside from script analysis, Stanislavsky also suggests using some of your own memories to invoke a desired reaction, but making sure to keep it separate from the character. He also often used action verbs in order to understand a character’s objectives; instead of saying a character is “asking” in a given scene, it is much more effective to say a character is “prodding” or “penetrating” or even “plunging”. These types of words can invoke a much clearer and real response.

Emotional Memory: Stanislavsky didn't want his actors to simply duplicate an emotion. He wanted his

When you feel an emotion, for example anger, joy or fear, people around you can perceive your emotional state through your behavior. For example, when I was younger I stung by a wasp and began crying. The sting was so painful I couldn't talk anymore. When my mom found me outside, she perceived my crying state as one of distress, attaining knowledge on the fact that something had happened. I had conveyed knowledge through an emotion - in this case pain. This display of emotion is an effective method of conveying knowledge as emotions are part of every being.

Emotion plays a huge role in our human behavior. Emotions have arisen to many of us, from many different reasons. Like fighting, when people fight with one another we tend to show different types of emotions, to whatever the argument maybe. Our anger shows a lot when people are fighting. Fear would be another one, we show fear when we don’t really know what’s going on, so we tend to panic. When we panic, were scrambling trying to figure out what to do, or what is best in a situation of fear. We also show different emotions when we fall in love with a person, sometimes when we

These are defined by Robert Solomon, as an emotion is "a basic judgement about ourselves and our place in the world, the projection of the values and ideals, structures and mythologies, according to which we live and through which we experience our lives" (1993, 126).

To truly come to life on stage, he believed the actors had to express true human emotion, and to achieve this he encouraged them to bring their own life experiences and feelings into the theatre. In addition to emotion memory, Stanislavski understood that although achieving authentic human emotion was important, the actors had to remember that they were still playing characters on the stage - not themselves. He therefore created exercises that allowed actors to explore the motivations of their

Emotional memory and sense memory are crucial to the acting process because they allow actors to organically and realistically feel emotions and sensations when acting as a character. Actors want their emotions onstage to be real, but recalling or remembering an emotional event from their own life may cause them to lose control of their emotions and break character. Therefore, to recall emotion onstage, an

Emotions are a fact of life, and when we get caught in a storm of emotion, often all we can say is “It’s hard to explain.”. This is why the world needs storytelling, stories dive into the depths of emotion, and no matter the medium used to tell the story, the audience receives a message away from a well-crafted story, messages that are otherwise buried in thought.

The practice of method acting has become no less than a cultural phenomenon during the last eighty or so years. The idea of an actor throwing himself so far into a role that character and man become one intrigues and horrifies most. Of course, there is more to it than that. The technique of method acting became prominent in the mid-twentieth century thanks to teachers like Lee Strasberg of the Actors Studio in New York. In essence, the method involves a search for truth in a role, wherein the actor or actress recalls emotions or reactions from their own life to inform and identify with the character. While this approach has produced no doubt some of the best performances of the modern age, there are numerous drawbacks. When an actor dives

There is a long tradition, fathered by Aristotle and recurring like some recessive gene in recent virtue theorists, that holds that the emotions, like acts, must be 'trained'. Consider the following: