![Sample our Museum and Heritage Studies journals, sign in here to start your FREE access for 14 days]({"type":"image" , "src" : "/sda/5945/TOC-Subject-Sample-2021-Museum-Heritage-Studies.jpg"})
ABSTRACT
Often, the exercises in the acting classroom can feel at odds with the processes used in the rehearsal room. I believe Konstantin Stanislavsky’s rehearsal method of Active Analysis provides tools and perspectives for dealing with these challenges. At The S Word Symposium in November 2022, I outlined a process I developed for teaching beginning acting using principles of Active Analysis as a tool to bridge the gap between training and rehearsing. This article expands on that presentation, including the experiences and thought processes that went into creating this class structure, and reviews the benefits for students. Applied in this way, Stanislavsky’s impulse to place embodied action before intellectual analysis yields valuable results in the classroom as well as the rehearsal hall.
Disclosure statement
No potential conflict of interest was reported by the author(s).
Notes
1. The definition of acting as “living truthfully in imaginary circumstances” is generally
attributed to noted acting teacher Sanford Meisner.
2. Stanislavski, My Life in Art, 346.
3. Hagen, Respect for Acting, 79. In addition to this text, other typical examples of introductory
texts might include Acting One by R. Cohen and Acting is Believing by K. Stilson.
4. The graduate acting programme at New York University – one of the top training programs in the country – offers courses of study in the Lee Strasberg Institute, the Stella Adler School, and the Meisner Studio.
5. Carnicke, “Stanislavsky’s System,” 23. For an in-depth analysis regarding actor training in the US and Stanislavsky’s influence, see Zazzali, Acting in the Academy, including 27, 29, 41, 43, and 47.
6. Carnicke, “Belief through Knowledge,” 19–31.
7. Stanislavski, An Actor’s Work on a Role, 149.
8. Stanislavski, An Actor Prepares, 134.
9. Ibid., 126 and 277.
10. Ibid., 132.
11. Knebel, Active Analysis, 106.
12. Hagen, Respect for Acting, 82.
13. Stanislavski, An Actor’s Work, 148.
14. Carnicke, Stanislavsky in Focus, 226.
15. Stanislavski, An Actor’s Work, 135 and Shevtsova, “Music, singing, word, action,” 16.
16. Stanislavski, An Actor’s Work on a Role, 138.
17. Ibid., 45–46.
18. Quoted in Carnicke, Stanislavsky in Focus, 154.
19. Shevtsova, “Music, singing, word, action,” 8.
20. In Thomas, A Director’s Guide, 83.
21. Merlin, “Stanislavski (1863–1938),” 27.
22. Merlin, “Here, Today, Now,” 325.
23. Gillett, Acting Stanislavski, xii-xiv.
24. Ibid., xv.
25. Stanislavski, Building a Character, 279.
26. Knebel, Active Analysis, 53.
27. See note 12 above.
28. Gillett, Acting Stanislavski, 56.
29. Carnicke, Stanislavsky in Focus, 142.
30. See note 10 above.
31. Merlin, “Facing the Fear,” 185.
32. Christie, “The What Happened of Experience,” 1.
Additional information
Notes on contributors
Michael Shipley
Michael Shipley is an Assistant Professor of Theatre who teaches acting, voice, speech, and accents. His research focuses on the intersection between acting methodology and vocal technique, with emphasis on voice and language in performance. Michael is also an actor, director, and coach, who has performed and coached at regional theatres across the US, including the Utah Shakespeare Festival, American Players Theatre, Great River Shakespeare Festival, and the American Conservatory Theatre. His corporate coaching clients have included Global 500 companies, healthcare networks, law firms, and police departments. He is certified in both Fitzmaurice Voicework and Knight-Thompson Speechwork, holds a BS in engineering from Texas A&M, an MS in engineering from Stanford University, and an MFA in Acting from the American Conservatory Theatre.