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Method acting

Method acting is a technique developed from the acting 'system' created in the early 20th century by Konstantin Stanislavski in his work at the Moscow Art Theatre and its studios. The Group Theatre first popularised the Method in the 1930s; it was subsequently advanced and developed in new directions by Stella AdlerSanford MeisnerUta HagenLee Strasberg (at the Actors Studio in the 1940s and 50s), and others.[8] In Stanislavski's system', the actor analyzes the character in order to play him or her with psychological realism and emotional authenticity. Using the Method, an actor may recall emotions or reactions from his or her own life and use them to identify with the character being portrayed.
Method actors are often characterized as immersing themselves so totally in their characters that they continue to portray them even off-stage or off-camera for the duration of the project. However, this is a popular misconception. While some actors do employ this approach, it is generally not taught as part of the Method. Stella Adler, who was a member of the Group Theatre, along with Strasberg, emphasised a different approach of using creative imagination.[9]
Method acting offers a systematic form of actor training in which the actor's sensory, psychological, and emotional abilities are developed; it revolutionized theatre in the United States.[citation needed]

[edit]Presentational and representational acting

Presentational acting refers to a relationship between actor and audience, whether by direct address or indirectly by specific use of language, looks, gestures or other signs indicating that the character or actor is aware of the audience's presence.[10] (Shakespeare's use of punning and wordplay, for example, often has this function of indirect contact.)
In representational acting, "actors want to make us 'believe' they are the character; they pretend."[10] The illusion of the fourth wall with the audience as voyeurs is striven for.[11]

[edit]As opposite gender

In the past, only men could become actors in some societies. In the ancient Greece and Rome[12] and the medieval world, it was considered disgraceful for a woman to go on the stage, and this belief persisted until the 17th century, when in Venice it was broken. In the time of William Shakespeare, women's roles were generally played by men or boys.[13]
When an eighteen-year Puritan prohibition of drama was lifted after the English Restoration of 1660, women began to appear on stage in England. Margaret Hughes is credited by some as the first professional actress on the English stage.[14] This prohibition ended during the reign of Charles II in part due to the fact that he enjoyed watching actresses on stage.[15] The first occurrence of the term actresswas in 1700 according to the OED and is ascribed to Dryden.[6]
In Japan, men (onnagata) took over the female roles in kabuki theatre when women were banned from performing on stage during theEdo period. This convention has continued to the present. However, some forms of Chinese drama have women playing all the roles.
In modern times, women sometimes play the roles of prepubescent boys. The stage role of Peter Pan, for example, is traditionally played by a woman, as are most principal boys in British pantomimeOpera has several "breeches roles" traditionally sung by women, usually mezzo-sopranos. Examples are Hansel in Hänsel und GretelCherubino in The Marriage of Figaro and Octavian in Der Rosenkavalier.
Women in male roles are uncommon in film with the notable exceptions of the films The Year of Living Dangerously and I'm Not There. In the former film Linda Hunt played the pivotal role of Billy Kwan, for which she received the Academy Award for Best Supporting Actress. In the latter film Cate Blanchett portrayed Jude Quinn, a representation of Bob Dylan in the sixties, for which she was nominated for the Academy Award for Best Supporting Actress. Women playing men in live theatre is particularly common in presentations of older plays, such as those of Shakespeare, that have large numbers of male characters in roles where the gender no longer matters in modern times.[citation needed]
Having an actor dress as the opposite sex for comic effect is also a long-standing tradition in comic theatre and film. Most of Shakespeare's comedies include instances of overt cross-dressing, such as Francis Flute in A Midsummer Night's Dream. The movie A Funny Thing Happened on the Way to the Forum stars Jack Gilford dressing as a young bride. Tony Curtis and Jack Lemmon famously posed as women to escape gangsters in the Billy Wilder film Some Like It Hot. Cross-dressing for comic effect was a frequently used device in most of the thirty Carry On filmsDustin Hoffman and Robin Williams have each appeared in a hit comedy film (Tootsie andMrs. Doubtfire, respectively) in which they played most scenes dressed as a woman.
Occasionally, the issue is further complicated, for example, by a woman playing a woman acting as a man pretending to be a woman, like Julie Andrews in Victor/Victoria, or Gwyneth Paltrow in Shakespeare in Love. In It's Pat: The Movie, filmwatchers never learn the gender of the androgynous main characters Pat and Chris (played by Julia Sweeney and Dave Foley).
A few roles in modern films, plays and musicals are played by a member of the opposite sex (rather than a character cross-dressing), such as the character Edna Turnblad in Hairspray—played by Divine in the original filmHarvey Fierstein in the Broadway musical, andJohn Travolta in the 2007 movie musicalLinda Hunt won an Academy Award for Best Supporting Actress for playing Billy Kwan in The Year of Living DangerouslyFelicity Huffman was nominated for an Academy Award for Best Actress for playing Bree Osbourne (amale-to-female transsexual) in Transamerica.

[edit]See also


  1. ^ "Actor: Job description and activities" . Prospects UK. Retrieved 2009-02-12.
  2. ^ Hypokrites (related to our word for hypocrite) also means, less often, "to answer" the tragic chorus. See Weimann (1978, 2); see also Csapo and Slater, who offer translations of classical source material that utilises the term hypocrisis(acting) (1994, 257, 265–267).
  3. ^ This is true whether the character than an actor plays is based on a real person or a fictional one, even themselves (when the actor is 'playing themselves,' as in some forms of experimental performance art, or, more commonly, as in John Malkovich's performance in the film Being John Malkovich); to act is to create a character in performance: "The dramatic world can be extended to include the 'author', the 'audience' and even the 'theatre'; but these remain 'possible' surrogates, not the 'actual' referents as such" (Elam 1980, 110).
  4. a b "actress, n.". Oxford English Dictionary (3 ed.). Oxford, England: Oxford University Press. November 2010. "Although actress remains in general use, actor is increasingly preferred for performers of both sexes as a gender-neutral term."
  5. ^ Goodman, Lizbeth; Holledge, Julie (1998). The Routledge reader in gender and performance. New York: Routledge. pp. 8; 93. ISBN 0-415-16583-0.
  6. a b Linden, Sheri (18 January 2009). "From actor to actress and back again" . Entertainment. Los Angeles Times. Retrieved 2009-03-14. "It would be several decades before the word "actress" appeared -- 1700, according to the Oxford English Dictionary, more than a century after the word "actor" was first used to denote a theatrical performer, supplanting the less professional-sounding "player.""
  7. ^ Wilmeth, Don B.; Bigsby, C.W.E. (1998). The Cambridge history of American theatre. Cambridge, U.K.: Cambridge University Press. pp. 449–450. ISBN 978-0-521-65179-0.
  8. ^ Hornby, Richard (4 May 1987). "Where the Gurus of Method Acting Part" . The New York Times. Archived  from the original on 15 April 2009. Retrieved 2009-03-28.
  9. ^ Flint, Peter B. (22 December 1992). "Stella Adler, 91, an Actress And Teacher of the Method" . The New York Times.Archived  from the original on 15 April 2009. Retrieved 2009-03-28.
  10. a b Trumbull, Dr. Eric W. "Introduction to Theatre -- The Actor" . Retrieved 2009-03-28.
  11. ^ Field, Mary. "What is the Theatre?"  (rtf). Shared Learning Objects. Mid South Community College. Retrieved 2009-03-28.
  12. ^ Women Actors in Ancient Rome  27 December 2002, BBC
  13. ^ Neziroski, Lirim (2003). "narrative, lyric, drama" . Theories of Media :: Keywords Glossary :: multimedia. University of Chicago. Retrieved 2009-03-14. "For example, until the late 1600s, audiences were opposed to seeing women on stage, because they believed it reduced them to the status of showgirls and prostitutes. Even Shakespeare's plays were performed by boys dressed in drag."
  14. ^ Smallweed (23 July 2005). "Smallweed" . The Guardian.Archived  from the original on 22 April 2009. Retrieved 2009-03-14. ""Whereas women's parts in plays have hitherto been acted by men in the habits of women ... we do permit and give leave for the time to come that all women's parts be acted by women," Charles II ordained in 1662. According to Brewer's Dictionary of Phrase and Fable, the first actress to exploit this new freedom was Margaret Hughes, as Desdemona in Othello on December 8, 1660."
  15. ^ "Women as actresses"  (PDF). Notes and Queries. The New York Times. 18 October 1885. Archived  from the original on 27 April 2009. Retrieved 2009-03-14. "There seems no doubt that actresses did not perform on the stage till the Restoration, in the earliest years of which Pepys says for the first time he saw an actress upon the stage. Charles II, must have brought the usage from the Continent, where women had long been employed instead of boys or youths in the representation of female characters."


  • Csapo, Eric, and William J. Slater. 1994. The Context of Ancient Drama. Ann Arbor: The U of Michigan P. ISBN 0-472-08275-2.
  • Elam, Keir. 1980. The Semiotics of Theatre and Drama. New Accents Ser. London and New York: Methuen. ISBN 0-416-72060-9.
  • Weimann, Robert. 1978. Shakespeare and the Popular Tradition in the Theater: Studies in the Social Dimension of Dramatic Form and Function. Ed. Robert Schwartz. Baltimore and London: The Johns Hopkins University Press. ISBN 0-8018-3506-2.

[edit]Further reading

[edit]External links

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