List of acting techniques
Meryl Streep[163]
Barbra Streisand[38]
Elaine Stritch[44]
Jeremy Strong[164]
David Suchet[165]
Hilary Swank[52]
Tilda Swinton[166]
Miles Teller[167]
Shirley Temple[57]
Charlize Theron[57]
Marlo Thomas[38]
Billy Bob Thornton[168]
Uma Thurman[38]
Rip Torn[169]
Indira Varma[170]
Jon Voight[38]
Eli Wallach[171]
Christoph Waltz[172]
Hannah Ware[38]
Denzel Washington[173]
Forest Whitaker[174]
Gene Wilder[175]
Michelle Williams[176]
Robin Williams[177]
Chandra Wilson[38]
Kate Winslet[178]
Shelley Winters[179]
Joanne Woodward[180]
Anton Yelchin[181]
1. Blum (1984, 63) and Hayward (1996, 216).
2. Krasner (2000b, 130).
3. Krasner (2000b, 129).
4. Benedetti (1989, 5–11, 15, 18) and (1999b, 254), Braun (1982, 59), Carnicke (2000, 13, 16, 29),
Counsell (1996, 24), Gordon (2006, 38, 40–41), and Innes (2000, 53–54).
5. Benedetti (1999a, 201), Carnicke (2000, 17), and Stanislavski (1938, 16–36). Stanislavski's "art
of representation" corresponds to Mikhail Shchepkin's "actor of reason" and his "art of
experiencing" corresponds to Shchepkin's "actor of feeling"; see Benedetti (1999a, 202).
6. Benedetti (1999a, 170).
7. Benedetti (1999a, 182–183).
8. Benedetti (1999a, 325, 360) and (2005, 121) and Roach (1985, 197–198, 205, 211–215). The
term "Method of Physical Action" was applied to this rehearsal process after Stanislavski's
death. Benedetti indicates that though Stanislavski had developed it since 1916, he first
explored it practically in the early 1930s; see (1998, 104) and (1999a, 356, 358). Gordon
argues the shift in working-method happened during the 1920s (2006, 49–55). Vasili Toporkov,
an actor who trained under Stanislavski in this approach, provides in his Stanislavski in
Rehearsal (2004) a detailed account of the Method of Physical Action at work in Stanislavski's
rehearsals.
9. Benedetti (1999a, 355–256), Carnicke (2000, 32–33), Leach (2004, 29), Magarshack (1950,
373–375), and Whyman (2008, 242).
- Quoted by Carnicke (1998, 156). Stanislavski continues: "For in the process of action the actor
gradually obtains the mastery over the inner incentives of the actions of the character he is
representing, evoking in himself the emotions and thoughts which resulted in those actions. In
such a case, an actor not only understands his part, but also feels it, and that is the most
important thing in creative work on the stage"; quoted by Magarshack (1950, 375).
See also
Notes
