Stella Adler's actor training method has been derived from the combination of her actual theatre experiences in contemporary American theatre, of the influences by the guidance of Stanislavski himself, and of her own reception of the so called 'American method.', To compare with Lee Strasberg's meth...
Stella Adler's actor training method has been derived from the combination of her actual theatre experiences in contemporary American theatre, of the influences by the guidance of Stanislavski himself, and of her own reception of the so called 'American method.', To compare with Lee Strasberg's method affected to Stanislavski's early system which emphasizes on the actor's emotional memory of his own past experiences, Adler's method, influenced by his latter system, focuses on the given circumstances and external conditions. Both Strasberg and Adler agree that actor's character building aims at transforming into the character. But they reveal different aspect each other in detail process; Strasberg concentrates on building character's inner reality through actor's own past reality and emotion, then Adler concentrates on external conditions, and its' given circumstances. Stella's actor training method can be divided into two major steps; 'basic training' phase consisting of the most fundamental bases necessary for actor training, and creative adaptation of the first phase for characte building. In the first phase, actor extends his imaginations, learns abilities of creating 'given circumstances' on his own, and applies character's 'physical action' according to it's given circumstances. The three elements of imagination, given circumstances and physical action are the core elements which Adler accentuates throughout the whole process of actor training, especially for character building. Her practical application of the three elements is put into specific studies; 'constructing given circumstances' by combining actor's imagination and improvisation, 'paraphrasing the dialogues' in the text, 'building the vocabulary of actions,' 'approaching the character building by its' social type,' and 'creating the character's inner world by his external conditions.' Then the three elements are not separately nor individually trained, but are in organically co-related. Based on imagination, an actor is able to construct given circumstances on stage. As the actor uses text as his matrix for creating a character, constructing given circumstance must precede foremost of all. Building a given circumstance begins with a awakening of Inner images and emotions evoked by the actor's imagination. Such evoked elements arise physical impulses that brings physical action. Also in order to build given circumstances, the actor begins by searching for the theme of the text, its' social environments and background, and the characteristics of people who constitutes such a world. Afterwards, the actor begins to form specific circumstances, and builds relationships with other characters in order to put the given circumstances on stage by means of his action. The actor experiences the changes in action and in emotion which occur in each sequence, unit of thought. By actual action of doing, he is able to build the progress and the change of given circumstances. Through his action, an actor represents his view and idea upon the world. Therefore, actor training focuses on physicalization of action and giving a style to character's figure and gesture required by text. According to Adler, every word and sentence in text has an intention to be physicalized. When the actor becomes quite aware of given circumstance and main aim, he is able to physicalize them by discovering implicit actions in his lines. Words are only a part of actor's action, and the actual aim which the character delivers is immanent in words. The action here means to physicalize implicit intentions in words. Actor's body, heightened by imagination and awakened improvisational senses, is able to perform spontaneous and immediate action according to given situation. Also by paraphrasing the text, the actor is able to speak the 'larger idea' of the text in his own word. Through this training, the actor is able to share with the audience the idea and theme of the text which now resonates his own inner voice. This becomes possible by the actor's absorption of the text into his own word. For the actor to build vocabulary of the doable actions, he must develop inner, verbal and physical actions. In this process, he is able to extract essence of various actions, and cultivate an ability to apply them in dramatic situations. An actor approaches his character by going through research upon what social type character belongs to. At first, the actor approaches exterior features and behaviors of the character, and through physicalizing such external features he begins to discover character's individuality, and as a result, to approach character's inner world. In other words, character building begins by extracting character's external qualities. Then it is approached by aspects such as his mind, his temperament, and his will. In such a process, the actor is not only able to reveal the relationship between character with its' society and himself, but he is also able to express its' individual characteristics more lucidly. An approach upon his character through his social type, provides an outset for stylization of character according to given circumstances. In the process of character building by using exterior conditions such as costumes, props, and sets, the actor is to go through many improvisations of building circumstances. Such an excercise enables the actor to approach the character's inner world by building a intimate communication channel between the actor and his costumes and props. By such a channel, the actor is able to characterize the nature of the character, his social status, and his view upon life. Character building approached by the character's inner world through his exterior conditions does not mean separation between the actor and his character. It is a way of discovering character's relationship between the play's theme, social environment, and other characters. Afterwards, by using his body and spatial space, the actor externalizes character's exterior aspects and his given circumstances. Stanislavski maintains that his acting theory and his system can not be applied to all kinds of actors, and that not all actors can gain an positive effect from it. Especially he assertes his system needed different approach according to cultural environment to be applied. Despite of the fact that Stella Adler's method is based on Stanislavski's system, her method is not just its' mere introduction. The goal of her method is to search for actor training method which sufficient and artistically effective for American actors. This also implies that it is needed to develop new training method appropriate for Korean actor.
Stella Adler's actor training method has been derived from the combination of her actual theatre experiences in contemporary American theatre, of the influences by the guidance of Stanislavski himself, and of her own reception of the so called 'American method.', To compare with Lee Strasberg's method affected to Stanislavski's early system which emphasizes on the actor's emotional memory of his own past experiences, Adler's method, influenced by his latter system, focuses on the given circumstances and external conditions. Both Strasberg and Adler agree that actor's character building aims at transforming into the character. But they reveal different aspect each other in detail process; Strasberg concentrates on building character's inner reality through actor's own past reality and emotion, then Adler concentrates on external conditions, and its' given circumstances. Stella's actor training method can be divided into two major steps; 'basic training' phase consisting of the most fundamental bases necessary for actor training, and creative adaptation of the first phase for characte building. In the first phase, actor extends his imaginations, learns abilities of creating 'given circumstances' on his own, and applies character's 'physical action' according to it's given circumstances. The three elements of imagination, given circumstances and physical action are the core elements which Adler accentuates throughout the whole process of actor training, especially for character building. Her practical application of the three elements is put into specific studies; 'constructing given circumstances' by combining actor's imagination and improvisation, 'paraphrasing the dialogues' in the text, 'building the vocabulary of actions,' 'approaching the character building by its' social type,' and 'creating the character's inner world by his external conditions.' Then the three elements are not separately nor individually trained, but are in organically co-related. Based on imagination, an actor is able to construct given circumstances on stage. As the actor uses text as his matrix for creating a character, constructing given circumstance must precede foremost of all. Building a given circumstance begins with a awakening of Inner images and emotions evoked by the actor's imagination. Such evoked elements arise physical impulses that brings physical action. Also in order to build given circumstances, the actor begins by searching for the theme of the text, its' social environments and background, and the characteristics of people who constitutes such a world. Afterwards, the actor begins to form specific circumstances, and builds relationships with other characters in order to put the given circumstances on stage by means of his action. The actor experiences the changes in action and in emotion which occur in each sequence, unit of thought. By actual action of doing, he is able to build the progress and the change of given circumstances. Through his action, an actor represents his view and idea upon the world. Therefore, actor training focuses on physicalization of action and giving a style to character's figure and gesture required by text. According to Adler, every word and sentence in text has an intention to be physicalized. When the actor becomes quite aware of given circumstance and main aim, he is able to physicalize them by discovering implicit actions in his lines. Words are only a part of actor's action, and the actual aim which the character delivers is immanent in words. The action here means to physicalize implicit intentions in words. Actor's body, heightened by imagination and awakened improvisational senses, is able to perform spontaneous and immediate action according to given situation. Also by paraphrasing the text, the actor is able to speak the 'larger idea' of the text in his own word. Through this training, the actor is able to share with the audience the idea and theme of the text which now resonates his own inner voice. This becomes possible by the actor's absorption of the text into his own word. For the actor to build vocabulary of the doable actions, he must develop inner, verbal and physical actions. In this process, he is able to extract essence of various actions, and cultivate an ability to apply them in dramatic situations. An actor approaches his character by going through research upon what social type character belongs to. At first, the actor approaches exterior features and behaviors of the character, and through physicalizing such external features he begins to discover character's individuality, and as a result, to approach character's inner world. In other words, character building begins by extracting character's external qualities. Then it is approached by aspects such as his mind, his temperament, and his will. In such a process, the actor is not only able to reveal the relationship between character with its' society and himself, but he is also able to express its' individual characteristics more lucidly. An approach upon his character through his social type, provides an outset for stylization of character according to given circumstances. In the process of character building by using exterior conditions such as costumes, props, and sets, the actor is to go through many improvisations of building circumstances. Such an excercise enables the actor to approach the character's inner world by building a intimate communication channel between the actor and his costumes and props. By such a channel, the actor is able to characterize the nature of the character, his social status, and his view upon life. Character building approached by the character's inner world through his exterior conditions does not mean separation between the actor and his character. It is a way of discovering character's relationship between the play's theme, social environment, and other characters. Afterwards, by using his body and spatial space, the actor externalizes character's exterior aspects and his given circumstances. Stanislavski maintains that his acting theory and his system can not be applied to all kinds of actors, and that not all actors can gain an positive effect from it. Especially he assertes his system needed different approach according to cultural environment to be applied. Despite of the fact that Stella Adler's method is based on Stanislavski's system, her method is not just its' mere introduction. The goal of her method is to search for actor training method which sufficient and artistically effective for American actors. This also implies that it is needed to develop new training method appropriate for Korean actor.
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#Adler, Stella 배우 인물 훈련
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