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Are you Method, Meisner, or Uta?

Discuss

by Anonymousreply 6310/14/2013

No idea what you're talking about, OP.

by Anonymousreply 111/08/2011

Fuck 'em all. Stella Adler all the way.

by Anonymousreply 211/08/2011

Stella Adler taught me all I need to know!

by Anonymousreply 311/08/2011

r1=Hilary Swank

by Anonymousreply 411/08/2011

I prefer the Julia Roberts method.

by Anonymousreply 511/08/2011

I love R4

by Anonymousreply 611/08/2011

Method

by Anonymousreply 711/08/2011

Another vote for Stella Adler. Studying with the old girl was life-changing.

by Anonymousreply 811/08/2011

Rhythm method.

by Anonymousreply 911/08/2011

shock and awe for me

by Anonymousreply 1011/08/2011

Uta, but only because I'm a crossword fan.

by Anonymousreply 1111/08/2011

All that and more, OP, all that and more

by Anonymousreply 1211/08/2011

Practical Aesthetics here.

Flicka Huffman, Billy Macy, and Davey Mamet can't all be wrong.

by Anonymousreply 1311/08/2011

Squat and Grunt Method for me.

by Anonymousreply 1411/08/2011

Uta? Bitch, go to the source.

by Anonymousreply 1511/08/2011

Edward Morehouse and Michael Beckett, HB Studios, so I guess that means I'm with Uta, though her performance in [italic]Mrs. Klein[/italic] was one of the worst things I've ever seen on any stage anywhere. She was indicating like crazy!

by Anonymousreply 1611/08/2011

But how much difference, really, is there between Method, Meisner and Uta?

It's all just navel-gazing ... or should I say American navel gazing? The Method -- and Stanislavsky -- have not a whole lot of credence outside of the US. In fact, if I can set myself up for a serious DL thrashing -- it's only Brando and Dean which made the Method palatable in America. (And only because they were hot.)

Actors are like singers -- either you have the innate talent or you don't. And I know certain "educators" (schools, coaches, tutors, college degree programs) would like you to think different -- that you can "study" your way into talent ... but, as Mama Rose said, you've either have it, or you've had it.

by Anonymousreply 1711/08/2011

Michael Chekhov! His works on the art of acting are truly enlightening.

by Anonymousreply 1811/08/2011

r17=would you like frys with that?

[quote]-- and Stanislavsky -- have not a whole lot of credence outside of the US.

ummm hello what about Moscow?

by Anonymousreply 1911/08/2011

R19, you might at least spell 'fries' correctly if you're going to make fun of others.

by Anonymousreply 2011/08/2011

point taken r20

by Anonymousreply 2111/08/2011

Take what you can from all of them. The audience only believes you or they don't. They don't care where you trained.

by Anonymousreply 2211/08/2011

R19 said "ummm hello what about Moscow?"

Sure, Moscow loved Stanislavsky. The same way Texans love Rick Perry.

Look -- I'm all for whatever works. And if people need "The Method" and variations thereof, to create honest and thrilling characters on stage then knock yourself out. To go back to my original analogy -- you can't make singers out of people who can't sing ... but you can teach people with singing ability how to be better.

My concern is when technique takes place of talent. Because of who I am and what I do I have unfortunately seen hoards of young people who've spent a fortune on "training" and, quite clearly, haven't the slightest lick of talent.

And it's only because students in America think they can buy talent that keeps studios and coaches and college programs afloat. If the universities in America which offer a theater degree only accepted young people they knew had talent ... 3/4 of the universities in America which offer a theater degree would go out of business.

Michael Chekhov? Mary, please.

by Anonymousreply 2311/09/2011

James Dean wasn't much of a poster boy for the Method. Compare him to Brando and you can see that Dean didn't have a strong handle on his technique. Whereas Brando - who by the way was not an Actors Studio guy; he studied with Stella Adler - has amazing technique. Dean is going on nerves and charisma, and he had plenty of both. But Brando really is an artist, and in the movies where he cared to be present, and to work hard, you can see how thoroughly versed in his craft he beautifully is.

by Anonymousreply 2411/09/2011

now I'm confused. Don't Texans love Rick Perry?

by Anonymousreply 2511/09/2011

I appreciate the difference you mention between Brando and Dean ... but for a generation of theater people (and the generations which followed) they WERE the Method (and all it's variants) in America.

And, I think, truth be told, it wouldn't have mattered what technique Brando used --- he was so fucking hot that if he said killing small kittens was what he used to be a great actor, there would be no cats left in America.

And, as you say, sometimes Brando was "present" but a lot of the time he wasn't ... and, really, did it matter? Brando would have been a star no matter what -- and I think that actors (desperate to quantify something ineffable) believe that if they copy what he they did they can achieve what he had. Which, and you know this is true, is completely false.

I come down in favor of what Larry said to Dustin: "Why don't you try acting, dear boy."

by Anonymousreply 2611/09/2011

I'm with r23. It's like brain surgery. Either a person has the innate talent to do it, or he or she doesn't. Training is irrelevant.

by Anonymousreply 2811/09/2011

My favourite story about The Method was the one about Sir Laurence Olivier and Dustin Hoffman on the set of 'Marathon Man'. The scene between them took place after Hoffman's character had supposedly just been through a lengthy chase on foot.

Before every take the crew would have to wait 20 minutes while Dustin ran off down the road and got himself suitably gasping for breath for the scene.

After a half a few takes Hoffman was getting quite worn out and Olivier drily observed, "My dear boy, you should try [italic]acting[/italic]"

by Anonymousreply 2911/09/2011

Correction: I meant to write "quite a few".

by Anonymousreply 3011/09/2011

[quote] It's like brain surgery. Either a person has the innate talent to do it, or he or she doesn't

So you don't need a lot of schooling to do brain surgery? Maybe that would be a better choice for me than pharmacy.

by Anonymousreply 3111/09/2011

Well, I mean, Brando was a genius, and as such, sui generis, but even still: He knew his technique.

I don't think James Dean was much of a technical actor. It's not clear to me that he'd've been able to make the same thing happen again and again, which is what an actor with technique can do: Repeat herself or himself.

by Anonymousreply 3211/09/2011

Stella always said she could not teach a student to act. She said she could stimulate a student's talent, if it was there, and help the student to grow. In doing the work Stella gave, the student would advance in his or her abilities.

But the talent must be there, all of its own accord.

by Anonymousreply 3311/09/2011

Stella. She was a real life guru - someone who brought light into a dark room. Watch her videos on youtube. Lee Strassberg was a turd who sought to dominate and intimidate talents far superior to his own.

by Anonymousreply 3411/09/2011

Strasberg and the Actor's Studio only took people in AFTER they were success. They claim Harvey Keitel as a member yet Keitel was turned down for admission over and over again and only accepted AFTER Mean Streets and a lot of other films.

by Anonymousreply 3511/10/2011

Meisner seems kind of methody. No?

by Anonymousreply 3611/10/2011

They are all dead though...Who are the living great teachers?

by Anonymousreply 3710/05/2013

Good question, r37.

by Anonymousreply 3810/05/2013

Uta Hagen sucked big dicks.

by Anonymousreply 3910/05/2013

A bunch of Stella Students. Did any of you know Eddie?

by Anonymousreply 4010/05/2013

I want to go to New York, to study the method.

by Anonymousreply 4110/05/2013

Michael Chekhov.

by Anonymousreply 4210/06/2013

[quote] Michael Chekhov? Mary, please.

Yul Brynner, Beatrice Straight and a host of others would would tell you to shove your Mary.

by Anonymousreply 4310/06/2013

There is no such thing as "THE" method. Uta had a method; Meisner had a method, etc. If you're talking about Stanislavsky, he had not set method. His teachings and theories changed (and often conflicted) throughout his life. OP, you know nothing about acting methods which is evidenced in your dumbass fucktart question.

by Anonymousreply 4410/06/2013

"The method" is what Strasberg and The Actor's Studio taught

from wiki: the "Method" refers to the practice—influenced by Constantin Stanislavski and created by Lee Strasberg—in which actors create characters by drawing on their own emotions and memories, aided by a set of exercises and practices including sense memory and affective memory

r44 must have studied at the Copacabana School of the Arts

by Anonymousreply 4510/06/2013

Strasberg taught A method that Stanislavski explored during his earlier teachings.

Just because you can copy and paste from an inaccurate wiki page, that doesn't make you an expert.

by Anonymousreply 4610/06/2013

[quote]OP, you know nothing about acting methods which is evidenced in your dumbass fucktart question.

OP started an interesting thread for which I thank him.

by Anonymousreply 4710/06/2013

Can anyone explain the difference between the modern US acting styles and the UK? What style is Vennesa Redgrave, compared to her father, for example?

And there is an impression that UK actors are more successful than their Method counterparts. True or false?

by Anonymousreply 4810/06/2013

Gawd! "The Method" will create a kooky yet very dull actor out of anyone! It's like teaching people to perform a heart/lung transplant in preparation for changing a band-aid! Pee Yew!

by Anonymousreply 4910/06/2013

ok r46...how about this link...

and Strasberg and his ilk very pompously refereed to their way as "The Method"

now go bring table 7 their water.

by Anonymousreply 5010/06/2013

go to history on the Strasberg link BTW and it will fill you in

by Anonymousreply 5110/06/2013

There sho is a alotta talk here about a profession where you basically read out loud for a living.

by Anonymousreply 5210/06/2013

Well that is the first lesson r52, you don't read it--you have to memorize it.

by Anonymousreply 5310/06/2013

You never heard of cue cards, then, Mr. Schmartypants.

by Anonymousreply 5410/06/2013

you have to memorize it. NO SCRIPTS ON THE NIGHT!!

by Anonymousreply 5510/06/2013

Pfffft! Memorizing lines is for sissies.

by Anonymousreply 5610/06/2013

What's my motivation ?!?!?

by Anonymousreply 5710/06/2013

I feel the wind! I feel the snow!

by Anonymousreply 5810/06/2013

I've always wondered about the process of both Jessica Lange and Cherry Jones. Having seen them both play Amanda Wingfield made me wonder.

by Anonymousreply 5910/06/2013

we lost r44 when he was proven wrong...typical

by Anonymousreply 6010/14/2013

Wonderful story on The Method, Paul Newman, and Alfred Hitchcock.

Early in the filming of "Torn Curtain," Newman could not get a scene right. After several takes, he said to Hitchcock, "I can't find the motivation for this character!" Without missing a beat, Hitchcock replied in an icy voice, "Think of your salary."

Not as bad a film as people think--worth seeing in fact--and Hitchcock privately told people that the worst actors he ever had to deal with were Newman and Montgomery Clift.

by Anonymousreply 6110/14/2013

I love the scene in Torn Curtain where they are trying to leave the crowed theatre...Hitchcock at his best

by Anonymousreply 6210/14/2013

Method actors drove Hitchcock crazy, Eva Marie Saint perhaps being the one exception. Hitchcock was notorious for storyboarding down to the finest detail of production, and he expected his cast and crew to follow the storyboards to a tee. Method actors like Newman and Clift, however, if their instinct is to move left, but the storyboard told them to move right, they'd argue, "What's my motivation for doing that?"

by Anonymousreply 6310/14/2013
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