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They founded the Group Theater and set about to do in America what Stanislavsky did in Russia. and decided they wanted to bring his method to the states.

For a large portion of the 20th century when “method acting” was mentioned it was referring to Stanislavsky’s overall method.Ĭut to some years later when several well-respected American actors saw Stanislavsky’s troupe performing in the U.S. Stanislavsky thought acting should be more natural and closer to real-life and developed his “method” to help actors accomplish this in a safe, repeatable way. If you watch the wonderful film “Stage Beauty” you can see a phenomenally executed (if WAY historically condensed) depiction of this stylistic change. There are many books devoted to this part of theater history and acting technique, and I highly recommend you check them out but here’s a VERY brief, general rundown.īefore Stanislavsky much of acting was very presentational in style. Method acting is an acting technique first referred to in the early/mid 20th century in relation to the acting revolution created by Stanislavsky in Russia and later the Group Theater (following in Stanislavsky’s footsteps) in the United States. In order to really have a conversation about method acting and recent (well, longstanding, but especially recent) comments in the media about actors’ antics on set – we first need to be clear on what method acting actually is and isn’t – something that’s been woefully missing in most conversations on the subject. The truth is…they don’t, and this method isn’t “The Method” at all.

What kind of insane method is “The Method?!” Who on earth would teach this to students?! There’s an entire documentary (“Jim & Andy: The Great Beyond…”) about Jim Carrey’s obnoxious, upsetting and ultimately alienating behavior as he “method acted” his way through the filming of “Man on the Moon,” and of course, most recently, Jared Leto has become the ambassador of this disturbing “method” with reports of his antics most notably on “Suicide Squad” where he terrorized his fellow actors both on and offset. Naturally, he refused modern medication to treat this right up until practically arriving at death’s door.” When it came time to change them after casting was complete, the 6’0’’ Bale insisted the figures were to be kept as written in an attempt to match them.” They share another story about Daniel Day-Lewis working on “Ganges of New York” during a brutal New York winter where “refusing to wear a warm coat unbefitting of the movie’s era, he developed pneumonia.

#Tumblr pocket casts theverge movie#

The comment, while funny, points to a deeper issue that has gotten worse in recent years – that of using “method acting” as an excuse to inflict emotional, physical, and psychological harm on oneself, or coworkers in the name of “great acting.” Robert De Niro famously paid $20,000 out of his own pocket to have his teeth ground down in order to bring a more ominous look to his character in “Cape Fear.” NYFA shares, among other stories, that of Christian Bale who dropped sixty-three pounds to achieve a skeletal figure for “The Machinist.”Īs NYFA says: “…this was almost an unnecessary devotion on Bale’s part – the weights mentioned in the movie (and written on the bathroom wall) were based on screenwriter Scott Kosar’s own weight, which were comparatively tiny given Kosar is only 5’6’’. “My dear boy, why don’t you just try acting?” His costar, Laurence Olivier, who was not a fan of Hoffman’s methods, said to him one day: In preparation Hoffman deliberately didn’t sleep for days and was on the verge of a real-life breakdown. “Marathon Man” is a 1976 American film in which Dustin Hoffman plays a character who has scenes where he is being tortured – including being in physical pain, out of his mind, and being deprived of sleep. There’s a well-known tale about the making of the film “Marathon Man” (disclaimer, actor Dustin Hoffman has said the exchange, as oft-quoted is not quite accurate, but that doesn’t take away from the heart of the story.) Ashley has taught at NYU, and is a member of AEA & the Dramatists Guild. As a writer, Ashley's work has been developed at New World Stages, Broadway's Manhattan Theater Club, Playwrights Horizons, and more. and film in New York, L.A., London, Stratford, and Chicago. A Broadway performer and writer, Ashley has appeared on and off-Broadway, as well as in T.V.