III.

Styles of Acting

A.

Naturalism

Much contemporary drama has been influenced by Naturalism. The roots of Naturalism are in the theatre of the late 19th century and the movement is associated with the work of Konstantin Stanislavski. Naturalism requires the identification with the inner life of the character being played, from the whole being of the actor.

B.

The Method

Evolved from the work of Elia Kazan and later Lee Strasberg at the Actors Studio in New York, “The Method” is a systematic approach to actors’ training, based on the work of Stanislavski, which aims to enable the actor to give an authentic interpretation of a role based on personal experience. A method actor strives to “be” as opposed to “act”. This style of acting appears to be particularly suited to the cinema. Marlon Brando and Rod Steiger are examples of successful method actors.

C.

Improvisation

Improvised acting is done without a text, but with ground rules. Improvisation is used in actors’ training and in rehearsal to stimulate the imagination and encourage spontaneity. Much modern improvisation is influenced by the work of the commedia dell’arte. The work of Joan Littlewood’s Theatre Workshop and the plays and films of Mike Leigh are examples of actors being asked to use improvisation in the process of devising an entire piece. Comedy improvisation has become a genre in its own right, both in the theatre and on television.

D.

Epic Acting

Epic acting was developed by Bertolt Brecht, who saw theatre as a force for social change. He sought to engage intellectually with an audience and to stimulate their powers of reasoning, rather than arousing too much emotional involvement. To this end, he encouraged his actors to absorb themselves in their roles but to abandon the idea that they were “living the part”, and instead to play the character at a critical distance.

E.

Physical Theatre

“Physical theatre” is a broad term, embracing a range of acting styles and influences. The roots of physical theatre are in Expressionism and in the experimental work of Jerzi Grotowski. Grotowski envisaged a “poor” theatre, stripped of all the inessentials, such as lights, music, or text. The actors’ physical, vocal, and mental skills were the essence of this theatre. Today physical theatre has become more mainstream and incorporates the influences of dance, mime, and circus skills. Examples of what can be termed physical theatre include the work of director Richard Jones and that of the dance company DV8.

F.

Musicals

An actor working in musical theatre will need to combine being a good all-round actor, able to convey a wide range of emotions, with the development of movement and vocal skills. Both the singing voice and the dancing ability of the actor should be adaptable to different genres of musical.