Word: stanislavsky
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...actual critique of Stanislavsky, however, is mostly based on an uncharitable, oversimplified reading of the director’s prolific work: “Stanislavsky’s famed (if essentially hypothetical) system, then, was and is the dissection of the motives and emotions of the character. One hundred years of actors have wasted their time in this pointless pursuit.” He proceeds to expound on why the emphasis on character over plot is a flawed method of theater making, but he never successfully validates his vitriolic reading of Stanislavski. To take on a figure so influential...
...Drama school was a new world, but not what he expected. "I thought somebody, somehow, would give me the secret to acting," he recalls. Indian theater then had nothing like the studios of method-acting guru Lee Strasberg or Stanislavski disciple Stella Adler to give actors tools and techniques. It had its roots in drawing-room melodramas and classical literature, including an ancient text, the Natyashastra, devoted to the theory of drama. "It even tells you where in the audience a critic should sit," Khan says. "But you cannot learn acting from that." So he immersed himself in the films...
...Western was by far the most prolific genre in the Hollywood 50s. It put virtually every big star in the saddle: old Hollywood types like Gable and James Stewart, younger rebels like Burt Lancaster, Kirk Douglas, Brando and most of the Stanislavski crowd from Broadway. Top actresses - Stanwyck, Dietrich, Crawford, Monroe - they all went West...
...been a Murderer (Gary Gilmore in The Executioner's Song) and a relentless lawman (Marshall Sam Gerard in The Fugitive). He married Loretta Lynn (Coal Miner's Daughter), saved the world from aliens (Men in Black). But the coolest thing Tommy Lee Jones does is ... nothing. Nothing, anyway, that Stanislavski could detect. (He never took an acting class. Didn't matter. Within weeks of graduating from Harvard, he landed a role in a Broadway play.) Jones just puts that rugged, West Texas face on the screen and observes the world with a rattlesnake's poise. He does watching a whole...
...suspect that Brando's mannerisms were thought out, an expression of the Stanislavski Method, while Presley's were symptoms of his nervous energy and naivete. To look at the young Elvis exposed, and exposing himself, on national TV (they can be seen in Alan and Susan Raymond's 1987 documentary "Elvis '56") In his first TV shows, he puts the mask of insolence on his stage fright. He rarely smiles. He seems simultaneously determined and stricken. While introducing a song, he audibly cracks his knuckles. His singing voice, so at home in the recording studio, shivers audibly behind...