Stanislavsky is the father of today's style of acting. Constantine Stanislavsky (1863-1938) was the

A very important aspect to Stanislavski's methods was subtext. He really wanted actors to pick up the underlying text of the dialogue being said. He wanted the actors to not say the subtext but show it through body movements, pauses in speech, gestures, etc. This is what was the main element for speaking to the audience, the subtext was something the audience could not read, it was something they had to pick up from viewing. In Chekhov's plays silence was one of the main forms of subtext, as it would enrich the scene. This also builds a connection with the audience because the subtext is almost as if there is a secret between the audience and the character and no else knows it but them. Thus heightening the audience's interest in the

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

He left The Neighborhood Playhouse between 1958 and 1964 to become the director of The New Talent Division at Twen-tieth Century Fox in Los Angeles, CA, and also pursued a film acting career. However, he re-turned to The Neighborhood Playhouse in 1964 again as head of the Drama Department and continued through 1990. It was during these years that his “Meisner Technique” truly inspired a new age of actors to live in the moment of their characters and respond truthfully to their scene part-ners rather than simply returning memorized lines. He’d have signs posted through the school saying, “Act Before You Think” and “An Ounce of Behavior is Worth a Pound of Words.” He focused on improvisation in the classroom, teaching that truthful acting is based on instinct and intuition. He taught,’'the emotional rhythm that goes on inside the actor is the least controllable part of any performance, but it must be present in the right proportion if the scene is to work.’' His teaching inspires authenticity in the actors performance by living and reacting moment to moment in the scene.

The outstanding component of acting is that it is an aspect that calls for a wide variety of skills. A single person to form a totally different personality from that possessed by the acting person must synchronize these skills. Some of the most common skills necessary for an actor are vocal projection, physical expressiveness, speech clarity, well-developed imagination, emotional facility drama interpretive ability. Also not to forget mentioning other important capabilities that an actor must have are; utilization of accents, body languages, dialects, improvisation, mimicry, emulation, stage combat and observation (Jurkowski and Francis 44). Another fascinating fact about acting is that it combines both talent and special training programs. Due to this fact it offers opportunities to any person who has an interest in becoming a theatre performer. The training has as well availed a chance for the emergence of professional actors who never seize from learning new elements from now and then. These people are among those who undergo training in various sub-disciplines making them diverse and multifunctional. An actor can be good at singing, dancing, partner work, scene work among others. Bundling all these qualities into one single person is a fascinating element which makes them fit for any duty that might be availed to them. Therefore acting as

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

David Edwards is a stage and film acting veteran from Las Cruces, New Mexico. He has performed in countless stage performances and several onscreen acting jobs during the last four decades. Mr. Edwards employs both practical and magic rituals to the preparations for his stage performances, and he keeps a good luck charm on his person. His rituals are less extreme than many other stage performers who are extremely observant of superstitions and adamant about preshow rituals. Anthropologists would take note of the greater ritual associated with stage acting than with film acting, as performers feel a lesser need for luck in the mistakes- forgiving world of film. This parallels the dichotomy between hitters and fielders in baseball.

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.

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.

Lee is responsible for training and helping many of the finest actors and actresses in this country alone. Yet lee also is  criticise for his rigid methods have ruined an entire generation of performers. Strasberg  and Harold Clurman were the co founders of the well known  Group theatre in 1931 which was hailed as “America’s first true theatrical collective”. In 1951 Lee Strasberg  became director of the non-profit Actors Studio, In New York City, which it well know to be the “ nation's most prestigious acting school”. Soon later he found the Lee Strasberg theatre and Film Institute in New York and in Hollywood to teach the work he pioneered. With all of his accomplishments  he was named “Chief” of the Method Acting” in the theatre world.

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.

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.

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