Что такое method acting
method acting
Смотреть что такое «method acting» в других словарях:
Method acting — is a phrase that loosely refers to a family of techniques used by actors to create in themselves the thoughts and emotions of their characters, so as to develop lifelike performances. It can be contrasted with more classical forms of acting, in… … Wikipedia
method acting — Method Meth od, n. [F. m[ e]thode, L. methodus, fr. Gr. meqodos method, investigation following after; meta after + odo s way.] 1. An orderly procedure or process; regular manner of doing anything; hence, manner; way; mode; as, a method of… … The Collaborative International Dictionary of English
method acting — ► NOUN ▪ an acting technique in which an actor tries to identify completely with a character s emotions … English terms dictionary
Method Acting — Als Method Acting bezeichnete Lee Strasberg seine auf der Lehre Konstantin Stanislawskis beruhende Methode, die Schauspielerei zu erlernen. Es ist eine US amerikanische Variante des Naturalismus im Schauspiel. Der Schauspieler arbeitet dabei mit… … Deutsch Wikipedia
method acting — noun an acting technique introduced by Stanislavsky in which the actor recalls emotions or reactions from his or her own life and uses them to identify with the character being portrayed • Syn: ↑method • Hypernyms: ↑acting, ↑playing, ↑playacting … Useful english dictionary
method acting — a style of acting first expounded by Konstantine Stanislavsky in the early 1900s, and popularized by Lee Strasberg (1899 1982) in the US in his Actors Studio; refers to actors who gave realistic performances based upon and drawn from their own… … Glossary of cinematic terms
Method-Acting — Me|thod Ac|ting [ mɛθəd|ɛktɪŋ ], das; s [amerik.]: schauspielerische Methode, bei der die Darsteller authentische Gefühle in kontrollierter Form erleben. * * * Me|thod Ac|ting [ mɛȓəd ɛktɪŋ], das; s [engl. method acting, aus: method = Vorgehen,… … Universal-Lexikon
method acting — UK / US noun [uncountable] theatre, cinema preparation for an acting role in which the actor gets real experience of the life of the type of character that he or she will play Derived word: method actor noun countable Word forms method actor :… … English dictionary
method acting — /ˈmɛθəd æktɪŋ/ (say methuhd akting) noun an acting technique by which actors try to immerse themselves in the emotional world of the character they are portraying so that the responses required by the part have a feeling of authenticity because… … Australian-English dictionary
method acting — n [U] a way of acting in which actors try to identify completely with the characters they are playing. It was based on the ideas of the Russian director Constantin Stanislavsky, and developed in the US by Lee Strasberg at the Actors’ Studio in… … Universalium
Method-Acting — Me|thod Ac|ting [ mɛθədɛktiŋ] das; s <zu engl. method »Methode« (vgl. ↑Methodismus) u. acting »Schauspielerei«> Art der Schauspielerei, die darin besteht, dass der Schauspieler sich auf sich selbst konzentriert, auf eigene Erfahrungen… … Das große Fremdwörterbuch
What is Method Acting? How to Use It and Not Get Lost in Character
Method Acting is Reality Acting
Some actors choose to stay in character for long periods of time and exhibit the behavior of a character even when not performing. They may conduct extensive research in order to understand a character. Well known examples are: Robert De Niro gaining weight for his character Jake LaMotta in Raging Bull, Daniel Day Lewis staying in character for the duration of filming My Left Foot, Natalie Portman taking ballet lessons before filming Black Swan, and Jared Leto pulling pranks on the cast and crew of Suicide Squad while playing the role of the Joker. The choices these actors made may have helped them in some manner, but these types of choices are in no way associated with Method acting.
The Method Acting definition or meaning, is really reality acting. When using the Method, the actor uses his imagination or something from his own life in order to create the inner life of his character. Conducting research, staying in character for extended periods of time or making a physical adjustment does not make you a Method actor. The degree to which you do anything in order to get into character and make your performance real is a personal choice that is not tied to Method acting.
The Actor is Always the Character
They Do Not Get “Lost” in the Character
Konstantin Stanislavski was the first person to explore the idea that sense memory could help the actor create believable behavior on stage. This is known as the Stanislavski System. Lee Strasberg (who founded the Group Theatre in New York City and also went on to become director of the famed Actors Studio) studied Stanislavski’s work. The Lee Strasberg Method is an extension of the Stanislavski System. Strasberg developed a series of exercises for the actor that help him train his power of concentration, be expressive and create his character’s reality. Some of the exercises are known as sense memory, animal, private moment and emotional memory. Once an actor learns and masters the exercises, he is then able to use the exercises to explore and create a character.
The Lee Strasberg Method exercises are designed to be used in the classroom and in performance. Relaxation and concentration are the foundation of the Stanislavsky system and the Lee Strasberg Method. An actor cannot be expressive if he is not relaxed and concentrated. (“Concentrated” is acting jargon for focused.) Emotion cannot get in or out of the body if the actor is tense. The actor cannot take on the details of his character’s world if he is not concentrated. The beginning exercises help a new actor free his body of tension, hone his ability to concentrate for extended periods of time and become self-aware. After studying intensively for about 2 years, the actor is able to delve into his own experiences, thoughts and feelings and effectively use them, in an artistic way, in order to bring a character to life. The actor is always the character. He does not get “lost” in the character. He is always in control of his behavior. A small part of him always knows that he is acting. A trained Method actor is capable of creating the behavior he feels is right for the character and dropping the behavior when he is not acting. After about 10 years of studying the Method, the actor has a deep understanding of the Method and is in a position to use the technique to its full capacity and in the way it was designed to be used. One of the many important skills a Method actor learns is how to get in and out of character without getting “lost.”
“If it’s literal, where is the craft of acting?” – Lee Strasberg
Lee Strasberg never wrote or said that part of the Method work was to “lose” oneself in his character. He never advocated that one should stay in character for extended periods of time in order to get better results. Lee never advised an actor to do anything that is potentially dangerous, harmful or destructive to himself in order get better results. Lee never instructed an actor to do anything that may endanger or harm another actor or person in order to get better results. A Method actor may conduct research in order to understand his character’s mindset or physicality. The research is conducted in a controlled, healthy and responsible manner.
A trained Method actor must be willing to deal and be capable of dealing with the most intense and difficult aspects of his own psychology and experiences. However, the Method is not therapy. The exercises are not for the purpose of coming to terms with the past or “finding closure.” Method work is solely for the use of artistic expression.
Creativity comes from experience, imagination and observation. A great artist becomes inspired and expresses a truth about the human condition and the world in which he lives. One of the main challenges for any artist is finding a way to harness inspiration. The Method when used as Lee Strasberg designed it, without fail, inspires creativity. The challenge of igniting the creative spirit at will was one of the main impetuses for Stanislavski’s development of his System. In turn, Strasberg strove to solve the actor’s problem of being able to get in and out of character at will for a long stage run or multiple film takes. In the course of his study, the Method actor is taught to get into character within about three minutes and get out of character within about five minutes. If a trained Method actor has trouble getting out of character and it is affecting his life negatively, then the Method is not right for him.
How does this apply to you, the actor? The Method helps you create the real behavior of a character. If you are playing a heroin addict, you do not do heroin in order to get the behavior of an addict. You find something from your own life that you have experienced that is akin to what spawns the behavior of a heroin addict. If you play someone who gets shot, you do not need to experience getting shot in order to portray getting shot. If you are playing someone who is mentally unstable, you do not need to become mentally unstable in order to give a great performance. Lee Strasberg wrote, “if it’s literal, where is the craft of acting?”
If You Are Playing Lady Macbeth,
You Do Not Need to Inspire Your Real Life Husband
to Commit Murder For the Purpose of
Creating Your Character
Each character you play has his own unique inner life and given circumstances. While it’s impossible to define what constitutes “safe research” and “responsible conduct” before, during and after a performance, it is safe to say that if you are playing Lady Macbeth, you do not need to inspire your husband in real life to commit murder for the purpose of creating your character.
Acting is performing. Acting is finding yourself in the character. Acting is creating a character’s reality. Acting is using your imagination. An actor may make a slight or extreme transformation in order to get into character, but he is always conscious of the fact that he is acting. He never gets “lost.”
method acting
1 вживание в роль
2 игра по системе Станиславского
3 long-acting reversible contraceptive method
4 GK method
5 Gray-King method
6 Most Economical Time to Replace Equipment method
7 alternating current method
8 amplitude versus offset method
9 modified pulling down method
10 most-economical-time-to-replace-equipment method
11 spontaneous polarization method
12 spot plate method
13 Метод вживания в роль (a style in acting in which the actor tries to experience what the character is doing)
14 корректирующая функция, ‘escape method’
16 method of encryption
17 AC method
18 ADI method
19 analysis-by-synthesis method &abbr. A-b-S
20 ASTM method
См. также в других словарях:
Method acting — is a phrase that loosely refers to a family of techniques used by actors to create in themselves the thoughts and emotions of their characters, so as to develop lifelike performances. It can be contrasted with more classical forms of acting, in… … Wikipedia
method acting — Method Meth od, n. [F. m[ e]thode, L. methodus, fr. Gr. meqodos method, investigation following after; meta after + odo s way.] 1. An orderly procedure or process; regular manner of doing anything; hence, manner; way; mode; as, a method of… … The Collaborative International Dictionary of English
method acting — ► NOUN ▪ an acting technique in which an actor tries to identify completely with a character s emotions … English terms dictionary
Method Acting — Als Method Acting bezeichnete Lee Strasberg seine auf der Lehre Konstantin Stanislawskis beruhende Methode, die Schauspielerei zu erlernen. Es ist eine US amerikanische Variante des Naturalismus im Schauspiel. Der Schauspieler arbeitet dabei mit… … Deutsch Wikipedia
method acting — noun an acting technique introduced by Stanislavsky in which the actor recalls emotions or reactions from his or her own life and uses them to identify with the character being portrayed • Syn: ↑method • Hypernyms: ↑acting, ↑playing, ↑playacting … Useful english dictionary
method acting — a style of acting first expounded by Konstantine Stanislavsky in the early 1900s, and popularized by Lee Strasberg (1899 1982) in the US in his Actors Studio; refers to actors who gave realistic performances based upon and drawn from their own… … Glossary of cinematic terms
Method-Acting — Me|thod Ac|ting [ mɛθəd|ɛktɪŋ ], das; s [amerik.]: schauspielerische Methode, bei der die Darsteller authentische Gefühle in kontrollierter Form erleben. * * * Me|thod Ac|ting [ mɛȓəd ɛktɪŋ], das; s [engl. method acting, aus: method = Vorgehen,… … Universal-Lexikon
method acting — UK / US noun [uncountable] theatre, cinema preparation for an acting role in which the actor gets real experience of the life of the type of character that he or she will play Derived word: method actor noun countable Word forms method actor :… … English dictionary
method acting — /ˈmɛθəd æktɪŋ/ (say methuhd akting) noun an acting technique by which actors try to immerse themselves in the emotional world of the character they are portraying so that the responses required by the part have a feeling of authenticity because… … Australian-English dictionary
method acting — n [U] a way of acting in which actors try to identify completely with the characters they are playing. It was based on the ideas of the Russian director Constantin Stanislavsky, and developed in the US by Lee Strasberg at the Actors’ Studio in… … Universalium
Method-Acting — Me|thod Ac|ting [ mɛθədɛktiŋ] das; s <zu engl. method »Methode« (vgl. ↑Methodismus) u. acting »Schauspielerei«> Art der Schauspielerei, die darin besteht, dass der Schauspieler sich auf sich selbst konzentriert, auf eigene Erfahrungen… … Das große Fremdwörterbuch
Method acting
Method acting is a phrase that loosely refers to a family of techniques used by actors to create in themselves the thoughts and emotions of their characters, so as to develop lifelike performances. It can be contrasted with more classical forms of acting, in which actors simulate the thoughts and emotions of their characters through external means, such as vocal intonation or facial expression. Though not all Method actors use the same approach, the «method» in Method acting usually refers to the practice, pioneered by Constantin Stanislavski and advocated by Lee Strasberg, by which actors draw upon their own emotions and memories in their portrayals, aided by a set of exercises and practices including sense memory and affective memory.
Method actors are often characterized as immersing themselves in their characters to the extent that they continue to portray them even offstage or off-camera for the duration of a project. However, this is a popular misconception. While some actors have employed this approach, it is generally not taught as part of the Method.
Method acting has been described as «revolutionizing American theater.» While classical acting instruction «had focused on developing external talents,» the Method was «the first systematized training that also developed internal abilities (sensory, psychological, emotional).» [ 1 ]
Method acting continues to evolve, with many contemporary acting teachers, schools, and colleges teaching an integrated approach that draws from several different schools of thought about acting.
Contents
Origins
Method acting was first popularized in the United States by the Group Theatre in New York City in the 1930s and was subsequently advanced by Lee Strasberg at the Actors Studio from the 1940s until his death in 1982. It was derived from the system created by Constantin Stanislavski, who pioneered similar ideas in his quest for «theatrical truth.» Stanislavski developed his system through his friendships with Russia’s leading actors, whose work he observed and analyzed; his collaborations with playwright Anton Chekhov; and his own acting and teaching at the Moscow Art Theater. It was also influenced by then-current ideas about Realism.
Strasberg’s students included many of America’s most famous actors in the latter half of the 20th century, including Montgomery Clift, Marilyn Monroe, James Dean, Paul Newman, Al Pacino, Dustin Hoffman, Eli Wallach, Alec Baldwin, Robert De Niro, Jane Fonda, Dennis Hopper, and Ellen Burstyn.
Technique
«Method acting» or «the Method» usually refers to the teachings of Lee Strasberg, but the term is sometimes also applied to the teachings of his Group Theatre colleagues, including Stella Adler, Robert Lewis, and Sanford Meisner, and to other schools of acting derived from Stanislavski’s system, each of which takes a slightly different approach. Even Stanislavski himself modified his system dramatically over the course of his career.
In general, however, Method acting combines the actor’s careful consideration of the character’s psychological motives and personal identification with the character, possibly including a reproduction of the character’s emotional state by recalling emotions or sensations from the actor’s own life. In this sense, according to Marlon Brando, the actor does not so much become someone else as he becomes himself. [ 2 ] It is often contrasted with acting in which thoughts and emotions are indicated, or presented in a clichéd, unrealistic way. Among the concepts and techniques of Method acting are substitution, «as if,» sense memory, affective or emotional memory, animal work, and archetype work. Strasberg uses the question, «What would motivate me, the actor, to behave in the way the character does?» Strasberg asks the actor to replace the play’s circumstances with his/her own, the substitution. [ 3 ]
Sanford Meisner, another Group Theatre pioneer, championed a closely related version of the Method, which came to be called the Meisner technique. Meisner broke from Strasberg on the subjects of sense memory and affective memory, basic techniques espoused by Strasberg through which actors access their own personal experiences in order to identify with and portray the emotional lives of their characters. Meisner believed that this approach caused actors to focus on themselves and not fully tell the story. He advocated fully immersing oneself «in the moment» and concentrating on one’s partner. Meisner taught actors to achieve spontaneity by understanding the given circumstances of the scene (as did Strasberg) and through interpersonal exercises he designed to help actors invest emotionally in the scene, freeing them to react «honestly» as the character. Meisner described acting as «living truthfully under imaginary circumstances.» [ 4 ]
Robert Lewis also broke with Strasberg. In his books Method—or Madness? and the more autobiographical Slings and Arrows, Lewis disagreed with the idea that vocal training should be separated from pure emotional training. [ 5 ] Lewis felt that more emphasis should be placed on formal voice and body training, such as teaching actors how to speak verse and enunciate clearly, rather than on pure raw emotion, which he felt was the focus of Method training. [ 5 ]
Stella Adler, an actress and acting teacher whose fame was cemented by the success of her students Marlon Brando, Warren Beatty, and Robert De Niro, also broke with Strasberg after she studied with Stanislavski himself, the only Group Theatre teacher to do so, after he had modified many of his early ideas about acting. Her version of the Method is based on the idea that actors should conjure up emotion not by using their own personal memories, but by using the scene’s given circumstances. Like Strasberg’s, Adler’s technique relies on carrying through tasks, wants, needs, and objectives. It also seeks to stimulate the actor’s imagination through the use of «as ifs.» Adler often taught that «drawing on personal experience alone was too limited.» Therefore, she urged performers to draw on their imaginations and utilize «emotional memory» to the fullest. [ 6 ]
Contemporary approaches
Contemporary Method acting teachers and schools often synthesize the work of their predecessors into an integrated approach. They reject the notion that any one of the major Method teachers of the 20th century was completely correct or incorrect, and they continue to develop new acting tools and techniques.
Some modern acting theorists and teachers have noted that Lee Strasberg, Sanford Meisner, Stella Adler, and others often misunderstood each other’s work, and that their criticisms were based on this misunderstanding. For example, they all taught actors to use their imagination, to connect with each other in performance, to analyze the script for wants, needs, and objectives. Meisner often said that Strasberg actors were too focused on themselves, but Strasberg trained many of the most respected actors of the 20th century.
In addition to taking an integrated approach, contemporary actors sometimes seek help from psychologists [ 7 ] [ 8 ] or use imaginative tools such as dream work or archetype work to remove emotional blocks. Techniques have also been developed to prevent the world of the performance from spilling over into an actor’s personal life in destructive ways.
Teachers
Stanislavski described his acting system in a trilogy of books set in a fictional acting school: An Actor Prepares, Building a Character, and Creating a Role. He also wrote an autobiography, My Life in Art. Acting teachers whose work was inspired by Stanislavski include:
In fact, most post-1930 acting philosophies have been strongly influenced by Method acting, and it continues to be taught at schools around the world, including the Lee Strasberg Theatre and Film Institute in New York and Los Angeles, the Actors Studio Drama School in New York, the Stella Adler Studio of Acting in New York and Los Angeles, the Edgemar Center for the Arts and the Larry Moss Studio in Santa Monica, Calif., HB Studio in New York, Le Studio Jack Garfein in Paris, Palm Beach Playhouse in Palm Beach, Fla., American Conservatory Theater, Shelton Studios and Shelley Mitchell’s Actors Center in San Francisco, Hull Actors Studio in Santa Monica and Santa Barbara, Calif., and the American Academy of Dramatic Arts in Los Angeles and New York.
Method acting
Лето, естественно, следовал неистовому исполнению Хита Леджера, получившего Оскар за роль Джокера в Темном рыцаре 2007 года, поэтому он должен был выделиться не только стилистически и на экране, но также и в прессе. На Отряд самоубийц было сделано много ставок, учитывая что предшествовавший релиз Бэтмен против Супемена: На заре справедливости не снискал ни успеха у критиков ни ожиданий бокс-офиса (по крайней мере, новый фильм преуспел во втором, если не в первом).
Поэтому неудивительно, что Лето и его коллеги использовали шокирующие истории для создания мифологемы вокруг фильма. Режиссер фильма, Дэвид Эйр, дошедший до того, чтобы заставить актеров пинать друг-друга в качестве подготовки к роли, сказал о самоотдачи Лето следующее:
Такие актеры, как Дениэл Дей-Льюис, Филипп Сеймур Хоффман, Кристиан Бейл и особенно Леонардо Ди Каприо рассказывали о том, как они полностью теряли себя в роли, набирали вес, оттачивали свои навыки, никогда не выходили из роли, использовали акцент и различного рода занятия (хобби), которые так или иначе влияли на их жизнь. Обоснованием подобной стратегии является вера в то что для создания великого искусства необходимо пройти через страдания. Но Метод также завернут в упаковку политики идентичности, пытающейся сделать этот вид искусства более подобным мужскому труду, и расширяя границы актеров, удостоенных похвалы.
Данный подход берет свои корни в начале XX века в уроках русского театрального реалиста Константина Станиславкого. Его работа в последствии оказала влияние на Ли Страсберга, известного как отца Метода актерского мастерства (Method acting) в Голливуде и обучавшего многих Голливудских звезд в начале 50-ых. Техника Метода побуждает актера к привлечению своего собственного опыта и эмоций, в качестве избавления своего исполнения от искусственности. Во многих случаях актеры воссоздают внешние условия своих героев, чтобы вести себя более достоверно. Экстремальные практики заходят так далеко, что актеры морят голодают до изнеможения, воздерживаются от сна и контактов с близкими. Такие актеры, как Пол Ньюман, Монтгомери Клифт и Джек Николсон были среди тех именитых талантов второй половины XX века, кто оттачивал свои навыки в актерской школе.
Конечно, сегодня невозможно говорить об очаровании Метода без упоминания Марлона Брандо. На сегодняшний день он вознесен критиками и актерами до такого масштаба, что кажется, будто хорошая игра на площадке невозможна без опыта игры на сцене. В 2014 Джеймс Франко писал для The New York Tames:
«Игра Брандо революционизировала точным образом Американскую актерскую игру; он не «исполнял» что-либо, а скорее примерял на себя и просто «существовал».
Брандо живёт в упорной настойчивости Бейла, в отказе Дей-Льюиса ломать себя, в решении Лабафа вырвать себе зуб для съемок в Ярости, в тихой развязности Райна Гослинга в фильмах, подобных Драйву. Брандо не был первым, кто привнес «метод» на экран, и даже не был лучшим, но по большей части он почитаем за то, что принес в американский кинематограф особого рода маскулинность. Казалось, будто он действительно жил в реалистичном, низком и грязном мире своих героев. Он был дерзким, решительным и полным мачизма.
Брандо никогда не доходил до крайностей тех, кто пришел после него, но его карьера и внешний вид создали эталонный образ для тех, кто считал себя его преемниками. Помимо его одержимой преданности форме, Брандо относился с самоуничижением собственному выбору карьеры. Он видел в актерстве низшую форму работы в сравнении с той, которой должен заниматься «настоящий» мужчина. Погружаясь в Метод, артист даёт понять, что он работает над собственным искусством, он может сделать видимым свой труд. Такая позиция жива по сей день, и находит отражение в словах Кристиана Бейла, когда он описывал свою карьеру следующими фразами:
«У меня достаточно девчачья работа, где я прихожу и мне делают укладку, накладывают грим и я говорю свои строки, а люди меня прерывают. Это не то, чем может гордится большинство людей.«
Рекламная кампания Выжившего, проходившая в наградный сезон, придавала огромное значение карательному подходу ДиКаприо к своей роли закаленного переселенца. Будучи вегетарианцем, он ел печень дикого бизона, рисковал жизнью, пробираясь через студеные реки и даже спал в туше животного.
«Я могу назвать 30 или 40 эпизодов, где я делал самые тяжелые вещи в моей жизни«, сказал ДиКаприо о своей роли.
Его карьерный взлёт и победа на Оскаре усиливают самые ошибочные идеи о современной актерской игре. Как заметил критик Matt Zoller Seitz:
Но гендерный характер современного Метода имел плачевные последствия притеснения актрис, работавших над собственной трансформацией и пришедших к подлинности в игре без вознесения себя над другими формами искусства. Для большинства людей сложно назвать своих любимых актрис, следующих Методу, хотя в примерах нет недостатка. Мэрилин Монро, Эллен Берстин и Джейн Фонда тоже изучали метод актерского мастерства, и тем не менее они не известны исполнением нелепых трюков, на подобии Лето или ДиКаприо. Для женщины в Голливуде это было бы не достойно похвалы, а скорее воспринималось как должное.
Современные актрисы вынуждены бороться с совершенно сексистскими историями вдухе диванных кастингов, уровня оплаты ниже чем у коллег-актеров, и множества других ситуаций, которые говорят о шатком положении даже самых сильных из них. Уже с таким положением вещей против неё, отправка трупов животных своим коллегам, может стать концом карьеры актрисы.
P.S. есть одна байка, которую очень любит повторять в своих программах Познер:
«В замечательном фильме «Марафонец» играли Дастин Хоффман (ему тогда ещё не было сорока лет) и Лоуренс Оливье (которому было уже почти семьдесят). Дастин Хоффман вживался в роль по методу Станиславского, а тот [Оливье] немножечко по-другому. В конце съёмочного дня Хоффман выжат, как лимон: он вживался в роль своего героя. А тот [Оливье], прям, как огурчик. Хоффман в конце концов и говорит ему: «Слушайте, сэр Лоуренс! Я не понимаю, в чём дело. Вы на двадцать лет меня старше, а в конце рабочего дня я языком еле ворочу, а вы как будто вообще и не работали. В чём дело?!» На что Оливье ему говорит: «А вы не пробовали играть?»»
Ниже видео с комментарием Хофмана о том, что же на самом деле имел ввиду Оливье: