Along with her lectures she usually had stud Her acting theory is basically grounded in discriminating details about your situation and recognizing the social significance of those details so that you can elevate the piece. Her classroom was in the New York City Center and she sat on a throne. Also her acting theory is for realism, and she believes that the only way to act realism is to play the poetry, so elevation is huge for her- but only if it comes from understanding of your responsibility. Her acting theory is basically grounded in discriminating details about your situation and recognizing the social significance of those details so that you can elevate the piece. A very interesting read, that gets deeper as it goes on.more Do this to escape from your personality restriction, presumably one reason you wanted to be an actor in the first place." She believed that the theater could do more for society than just serve as a diversion. "Work on ten actions foreign to your personality. Strasberg emphasized emotional memory, and Stella Adler emphasized imagination. Both Adler and Strasberg lay claim to a heritage from Stanislavski - and "the Method," a term which seems like it was used more by Lee Strasberg.
I've been fascinated by that "split" ever since. "Work on ten actions foreign to your persona Frank Langella was at a local art-house theater (the Burns) around 2013 or so and made it clear he held Stella Adler in high regard and Lee Strasberg in something beneath contempt.
Frank Langella was at a local art-house theater (the Burns) around 2013 or so and made it clear he held Stella Adler in high regard and Lee Strasberg in something beneath contempt.
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