“Method Acting” as it is popularly known, has since its inception courted controversy and fascination. The so called “Method Actors” past and present, have arguably produced some of the most stunning and truthful performances in cinematic and theatre history.
To quote the famous acting teacher Sanford Meisner, acting is “Living truthfully under imaginary circumstances”. This living truthfully has remained the pivotal focus of great acting and the driving force behind the development of the method.
So what is Method Acting, and how did it develop?
When the term “Method Actors” is referred to, most people think of the greats of modern cinema, such as Robert De Nero, Al Pacino, Marlon Brando, among many others. A whole legion of actors studied with the famous method acting teachers of the day, Stella Adler, Lee Strasberg, Sanford Meisner, Robert Lewis to name a few. These teachers were all great actors in their own right, who later became collectively known as the Group Theatre. However, it wasn’t until a group of actors from The Moscow Art Theatre, visited New York in the 1920s, that America experienced what was to become the birth of “The Method”. The visiting actors were led by the person who would become known as the father of “Method Acting”, Konstantin Stanislavski.
It is said that as a result of personal frustrations towards the ham, wooden acting performances of his day, and in fact the inconsistencies of his own acting performances, Konstantin Stanislavski sought a system whereby he could almost guarantee a great performance at will. His principal goal was to attempt to discover and tap into the very essence of great acting. He had witnessed great performers of the day, such as the Italian actor Tommaso Salvini; bring to the stage inspired performances. Effectively what Stanislavski attempted to do, by watching such performers was to study, dissect and analyse great acting. By doing so, he hoped that by formulating a set of procedures, he could recreate the inspiration of great natural acting.
The main components of his system, such as the objective, relaxation, concentration and the like remained as the foundation and basic necessities towards developing the actor’s instrument. However “affective memory” or emotional memory as it later became known was his most famous discovery and has perhaps attracted the most interest and controversy. The whole point of the emotional memory always was to personalise and bring emotional truth to a fictional set of circumstances. If the actor can recreate a personal, past event that had emotional significance to the individual, then it was hoped that the emotional truth, so valued of great acting, could assist in creating a great performance. However even Stanislavski himself eventually recognised the potential psychological dangers this technique could cause. In fact throughout his career, he sought new and safer ways to produce great acting towards his final technique which became known as “The Method of Physical Actions”.
During their visit, a number of the actors from The Moscow Art Theatre, among them Richard Boleslavsky, remained in New York, forming The American Laboratory Theatre. “The Method” that Lee Strasberg and other members of The Group had first witnessed and embraced, was Stanislavsky’s findings up to that point. The initial “first studio” teachings that Boleslavsky unwittingly unleashed were to cause unforeseen problems for its practitioners for years to come. However it is argued that despite this, America was to see the birth of some of the greatest performances before and since. It cannot be confirmed conclusively that these performances have been a direct result of the application of “The Method”. Many in opposition of “The Method” would state that the great actors were already highly gifted and great despite its influence.
Whether “Method Acting” is necessary or is even more harmful than useful, will probably be a major source of debate for years to come. However few can argue that the development has certainly brought an awareness and expectation that ham, wooden performances would never be acceptable again.
Helene Goldnadel is an actor, screenplay and song writer, recording artist and a musician. She served as a representative to countless models and actors registered through the Screen Actors Guild (SAG) and the American Federation of Television and Radio Artists (AFTRA), finding numerous television and film roles for her clients. Now focused on educational training for child actors and models throughout the greater Los Angeles area, Helene Goldnadel runs her performing art institute with a unique commitment to ensure bright, productive careers for her young students.
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