An entertaining, maximally informative new book by Isaac Butler—a writer and podcaster for Slate who also teaches theatre history—traces the history of Method acting, from pre-Revolutionary Russia to today.
” co-stars because that is how his character, the Joker, would behave. The idea is that Method actors inhabit their characters all the way, all the time. But many people, Butler among them, will tell you that this is not the Method at all.
Stanislavski was born in 1863, into a wealthy Muscovite manufacturing family, and by the time he was twenty-five he had earned a reputation as an accomplished amateur actor and director. At the M.A.T., which he founded, in 1898, with the director and playwright Vladimir Nemirovich-Danchenko, he brought a managerial temperament to bear on his theatrical work. He took attendance at rehearsals like a foreman at a factory; divas weren’t tolerated.
He began to experiment. He had his actors chop up their roles into “bits” of action—the Russian word he used,, can mean a hunk of meat or bread—so that they could explore each segment before stitching them into a whole. He introduced the concept that characters had motivations, private reasons that governed the actions they took. He created exercises to relax the body and sharpen concentration in order to convey a sense of “public solitude,” of seeming to be alone in front of an audience.
Butler dates the creation of the Method to the summer of 1931, when members of the Group holed up at a camp in Connecticut to try to make themselves into a proper company. Strasberg conducted Stanislavski-style improvisations to help actors feel their way organically through a scene’s action, and he taught exercises related to two kinds of memory: sense and affective.
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