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Training of the American Actor
Successful acting must reflect a society’s current beliefs. The men and women who developed each new technique were convinced that previous methods were not equal to the full challenges of their time and place, and the techniques in this book have been adapted to current needs in order to continue to be successful methods for training actors. The actor’s journey is an individual one, and the actor seeks a form, or a variety of forms, of training that will assist in unlocking his own creative gifts of expression.—from the introduction
The first comprehensive survey and study of the major techniques developed by and for the American actor over the past 60 years. Each of the 10 disciplines included is described in detail by one of today’s foremost practitioners.
Presented in this volume are:
• Lee Strasberg’s Method by Anna Strasberg, Lee’s former student, widow, and current director of The Lee Strasberg Theatre Institute
• Stella Adler Technique by Tom Oppenheim, Stella’s grandson and artistic director of the Stella Adler Institute in New York
• Sanford Meisner Technique by Victoria Hart, director of the Meisner Extension at New York University
• Michael Chekhov Technique and The Mask by Per Brahe, a Danish teacher inspired by Balinese dance and introduced to the Chekhov technique in Russia
• Uta Hagen Technique by Carol Rosenfeld, who taught under Hagen’s tutelage at the Herbert Berghof (HB) Studio
• Physical Acting Inspired by Grotowski by Stephen Wangh, who studied with Jerzy Grotowski himself
• The Viewpoints by Mary Overlie, the creator of Viewpoints theory
• Practical Aesthetics by Robert Bella of the David Mamet-inspired Atlantic Theatre Company school
• Interdisciplinary Training by Fritz Ertl, who teaches at the Playwrights Horizons Theatre School
• Neoclassical Training by Louis Scheeder, director of the Classical Studio of New York University
Arthur Bartow is the artistic director of the Department of Drama at New York University’s Tisch School of the Arts. A former associate director of Theatre Communications Group, he is the author of the landmark book The Director’s Voice.
The first comprehensive survey and study of the major techniques developed by and for the American actor over the past 60 years. Each of the 10 disciplines included is described in detail by one of today’s foremost practitioners.
Presented in this volume are:
• Lee Strasberg’s Method by Anna Strasberg, Lee’s former student, widow, and current director of The Lee Strasberg Theatre Institute
• Stella Adler Technique by Tom Oppenheim, Stella’s grandson and artistic director of the Stella Adler Institute in New York
• Sanford Meisner Technique by Victoria Hart, director of the Meisner Extension at New York University
• Michael Chekhov Technique and The Mask by Per Brahe, a Danish teacher inspired by Balinese dance and introduced to the Chekhov technique in Russia
• Uta Hagen Technique by Carol Rosenfeld, who taught under Hagen’s tutelage at the Herbert Berghof (HB) Studio
• Physical Acting Inspired by Grotowski by Stephen Wangh, who studied with Jerzy Grotowski himself
• The Viewpoints by Mary Overlie, the creator of Viewpoints theory
• Practical Aesthetics by Robert Bella of the David Mamet-inspired Atlantic Theatre Company school
• Interdisciplinary Training by Fritz Ertl, who teaches at the Playwrights Horizons Theatre School
• Neoclassical Training by Louis Scheeder, director of the Classical Studio of New York University
Arthur Bartow is the artistic director of the Department of Drama at New York University’s Tisch School of the Arts. A former associate director of Theatre Communications Group, he is the author of the landmark book The Director’s Voice.
- GenresTheatreNonfiction
400 pages, Paperback
First published January 1, 2006
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136 people want to read
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Displaying 1 - 7 of 7 reviews
August 17, 2011
A rather good overview of current American acting techniques, but not infallible. Each profile is written by a current advocate of that technique (usually those who studied with the originator or master of that form) which allows them to talk authoritatively about the subject.
Some are very good - particularly the chapters on Stella Adler, Uta Hagen and the Meisner technique. These chapters give a VERY comprehensive overview of the philosophy behind the technique, the structure, form and training involved, as well as practical applications. Beyond this, the respective authors are clearly aware of how each individual needs to tailor the technique to their own talents, personality and preferences.
On the other hand, some of the chapters lack all of these advantages, probably because they were written by people who saw the book more as an advertisement or essay than as a guide. The Strasberg chapter, for instance, I thought was quite woeful, as it served more as the kind of essay you would read in an advanced acting class to give you an idea of the philosophy and not the practice. Some of the chapters on more physical techniques - such as mask work - didn't really work, in part because, how do you describe that on paper? Honestly, if you can't explain your technique clearly and must resort to ambiguous discussions of a "transformation effect" or something else, then there's not much one can get out of your technique academically.
At the end of the day, this is a useful look at some modern acting schools of thought, and particularly helpful if - like me - you're into the Adler and Hagen techniques. But there are probably better "introductory" guides out there for relative newcomers, and for the more advanced there are equally useful in-depth reads.
Some are very good - particularly the chapters on Stella Adler, Uta Hagen and the Meisner technique. These chapters give a VERY comprehensive overview of the philosophy behind the technique, the structure, form and training involved, as well as practical applications. Beyond this, the respective authors are clearly aware of how each individual needs to tailor the technique to their own talents, personality and preferences.
On the other hand, some of the chapters lack all of these advantages, probably because they were written by people who saw the book more as an advertisement or essay than as a guide. The Strasberg chapter, for instance, I thought was quite woeful, as it served more as the kind of essay you would read in an advanced acting class to give you an idea of the philosophy and not the practice. Some of the chapters on more physical techniques - such as mask work - didn't really work, in part because, how do you describe that on paper? Honestly, if you can't explain your technique clearly and must resort to ambiguous discussions of a "transformation effect" or something else, then there's not much one can get out of your technique academically.
At the end of the day, this is a useful look at some modern acting schools of thought, and particularly helpful if - like me - you're into the Adler and Hagen techniques. But there are probably better "introductory" guides out there for relative newcomers, and for the more advanced there are equally useful in-depth reads.
November 21, 2022
This is quite an old-fashioned book now, complete with the earnestness of American soul searching when it comes to acting.
There are interesting points about what practitioners did in their acting workshops.
The style of writing from the contributors is stolid, worthy and rather boring. Actors and Acting Tutors have moved on.
There are interesting points about what practitioners did in their acting workshops.
The style of writing from the contributors is stolid, worthy and rather boring. Actors and Acting Tutors have moved on.
March 3, 2021
Should be required reading for any aspiring actor. Featured clear explanations, a variety of contrasting and compatible techniques, and a solid history of practitioners and their theories. I was so enthralled and interested I could hardly put the book down.
February 12, 2014
It is so very rare that I don't finish a book - even if I'm struggling, I doggedly carry on, and try to give it the full monty of a fair go. However, in this case, I was reading the book for research, and have since finished the novel I was writing. And so I've decided to give myself a break, and I may come back to it later.
I will certainly keep it as a great reference work! I have read a few books about acting now, but didn't find this sort of thing anywhere else. The book provides a really detailed look into the different acting methods taught in drama schools, both the theory and the practice. Invaluable, really! And yes, at first some of it does seem a bit odd to non-actorly types like me, but that's part of the intrinsic value: I definitely learned some things, but more than that I felt I understood. Kudos to Bartow and the other writers involved for that!
So that's me done for now, at page 147 (52%).
Nevertheless, I'd recommend this to anyone wanting to learn more about acting techniques. It does what it says on the tin, and darned thoroughly, too.
I will certainly keep it as a great reference work! I have read a few books about acting now, but didn't find this sort of thing anywhere else. The book provides a really detailed look into the different acting methods taught in drama schools, both the theory and the practice. Invaluable, really! And yes, at first some of it does seem a bit odd to non-actorly types like me, but that's part of the intrinsic value: I definitely learned some things, but more than that I felt I understood. Kudos to Bartow and the other writers involved for that!
So that's me done for now, at page 147 (52%).
Nevertheless, I'd recommend this to anyone wanting to learn more about acting techniques. It does what it says on the tin, and darned thoroughly, too.
April 4, 2010
This would be an excellent text for any actor, but especially for someone heading into advanced training (especially someone heading into advanced training who had had no beginning or intermediate training... hehheh *sweat*). It's a very accessibly written survey of current techniques, including the Mamet-Atlantic School stuff, even. I am buying a copy.
September 24, 2008
Every actor or teacher of acting must read this book!
October 22, 2013
Good summation of multiple theatre techniques. I really loved the recommended reading at the end of each chapter.
Displaying 1 - 7 of 7 reviews