Teaching Methods and Philosophy
In describing his teaching philosophy, Strasberg wrote, "The two areas of discovery that were of primary importance in my work at the Actors Studio and in my private classes were improvisation and affective memory. It is finally by using these techniques that the actor can express the appropriate emotions demanded of the character". Strasberg demanded great discipline of his actors as well as great depths of psychological truthfulness. He once explained his approach in this way:
The human being who acts is the human being who lives. That is a terrifying circumstance. Essentially the actor acts a fiction, a dream; in life the stimuli to which we respond are always real. The actor must constantly respond to stimuli that are imaginary. And yet this must happen not only just as it happens in life, but actually more fully and more expressively. Although the actor can do things in life quite easily, when he has to do the same thing on the stage under fictitious conditions he has difficulty because he is not equipped as a human being merely to playact at imitating life. He must somehow believe. He must somehow be able to convince himself of the rightness of what he is doing in order to do things fully on the stage.
According to film critic/author Mel Gussow, Strasberg required that an actor, when preparing for a role, delve not only into the character's life in the play, but also, "ar more importantly, into the character's life before the curtain rises. In rehearsal, the character's prehistory, perhaps going back to childhood, is discussed and even acted out. The play became the climax of the character's existence."
Read more about this topic: Lee Strasberg
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