Crystalizing the Method
By Lorrie Hull, Ph.D.

Numerous people do not understand "Method" techniques, which work for so many well-known, fine actors. Many of the techniques have been used by fine actors for more than 2000 years, while others are based on modern scientific discoveries: the principles and procedures of responsive behavior and responsive acting.

Actors and directors laud "The Method," sense memory and affective memory on Bravo's "Inside the Actors Studio." I have tried to explain these techniques simply in my video, DVD and REISSUED book by S. Loraine Hull to clarify why "Method" techniques work today.

Several of us also present panels and workshops at The Method Fest to guide examples, explain and demonstrate "The Method."

Due to comtemporary psychological discoveries, Constantin Stanislavski of Russia was able to define various acting techniques, which have evolved in theory and practice through Strasberg, Kazan, Meisner,Adler, and their peers down to myself and other acting instructors.

When an actor creates emotion for a role,whose emotion does he or she experience when acting? His own, of course. The only emotional life the actor can create is his own, though granted the actor's imagination can be added to his own truthful basis. The only imagination the actor has is his or her own, the only life history nesting there, in an actor's subconscious, is his own. He cannot borrow Einstein's emotional life, Brando's, or his friends. The actors' total being (physical,mental, emotional and spiritual) is his instrument - the only clay with which he has to work.

Stanislavski's last writings were found in the archives of The Moscow Art Theatre where he wrote about the importance of affective memory (or emotional memory) training and work as he had originally theorized. Stanislavski came to believe that both the physical and emotional were necessary according to his granddaughter, Cyrilla Falk, and Smelyansky of the MAT, who has written in Russian 10 volumes of these last writings to be translated into English.

Modern practitioners often believe, however, that affective memory is not needed if the actor can give the director what a director wants. We have so many techniques to explore including substitution, which may be all that is needed for emotional work.

Affective memory training is advanced work and utilized when there is a problem for the actor, and for a repertoire for those advanced who wish to hone their craft. My claims in the preceding paragraph about Stanislavski were told to me when I was a master teacher at the Pompidou Centre in Paris for a Stanislavski world-wide Conference. Falk, (who gave me more information), Smelyansky, and the Vakhtangov Theatre in Russia all have my book by S. Loraine Hull.

Those of us on panels at the Paris world-wide conference agreed with the equal theory and practice of physical actions and emotional work-including affective memory- when needed.The panel participants included Susan Strasberg, Sydney Pollack, Robert Lewis, Ellen Burstyn, Ben Gazzara, Smelyanski, and myself. Actors studio members, including Burt Young, Dianne Hull, and Joyce Roth demonstrated the method in my week long workshops.

Germaine DeLeone, the Methodfest 2004 acting competition winner, trained in "the method" techniques, as he was and is a longtime student of my partner (Dianne Hull) and myself. Kazan cast Dianne in film and on stage, and we believe in many of his evolved "Method" techniques.

Most of us teachers teach inner (psychological) actions and outer (physical) actions. All of us on the Paris panels agreed that we have evolved our own "Methods," with due credit given to Stanislavski and many others. We encourage each actor, director and teacher to evolve his or her own "method," based on truthfulness and believability.

How fortunate are today's actors that such people as Pavloff, Stanislavski, Strasberg, Kazan and their peers finally created techniques, so actors no longer need to depend on the fickle muse of inspiration, or work on a hit or miss basis, or depend on the vagaries of his or her own emotional ups and downs. Besides, it is never enough just to be inspired. Inspiration does not always show up on the film set or location, take after take, or for any shoot for that matter. Thanks to modern psychological discoveries and the dedicated men and women who have explored, taught, directed and used acting techniques which lead to truthful, believable behavior, acting has finally become a craft and an art.

By Lorrie Hull, Ph.D., www.actors-studio.com/hull

• Santa Monica instructor of actors, directors, teachers,writers at the Hull Actors Studio
• Producer of the DVD and video: "The Method," and the updated reissued book by S. Loraine Hull: Strasberg's Method: A Practical Guide for Actors, Teachers, Directors."
• Seminar and Workshop leader, along with William Smithers (Actors Studio member since 1952) for The Method Film Fest.
• Former 12 year senior faculty member for Strasberg and 5 year instructor for The American Film Institute's Public Service Programs

Questions To Ponder and Things To Learn
By Michael Wallach

An actor, is an actor, is an actor! It's in your guts and the burning desire is there. But, if you possess that ability and spark are you fully aware of and understand the other steps to great success? For example, knowing how to handle yourself when the audition begins or the camera starts rolling, to being comfortable enough to go smoothly through the everyday steps leading to success such as obtaining and then effectively dealing with your agent or manager, the casting director, successfully getting through the audition process and shooting the role while dealing with the concept of "hurry-up and waiting", to interacting with the producers, director, other actors, the crew, and eventually...the public.

Chances are, if you're reading this, you do have what it takes to go the distance. Now, it is the business of "show business" that seeps into the picture. For example, you need the right agent who provides auditions and makes good deals (not only the money but the billing too); you want the right manager (which could be you) who sees the big picture, recognizes a good agent, puts the marketing elements together (picture, resume, composite reel, audition attire, appearance, etc.); knowledge of what's expected in a tv pilot and movie deal, commercials and reality shows, union benefits and insurance coverage, or needing certain acting classes or coaching, showcasing opportunities and paying for them too?, a publicist (or know how to get what you need by merely asking the studio or network publicist), accountant and tax deductions you're entitled to, psychologist, physical trainer or nose job!, etc. etc. etc.

Great success for you is a real possibility. Being successful and staying successful is not often easy but it can be achieved! My own understanding of the business and success comes from currently managing and doing so for over 20 years, along with being a lawyer and working in the business affairs departments of tv/film and record companies in LA and NY, all of which lead me to teaching a course at UCLA Extension called "This Business of Acting" ™ (Q8496).

Although the process of being successful is fun, it can also be arduous. For the actor, it's all about "knocking on doors", which I literally did after finishing law school without knowing anybody in my field of choice, entertainment law. So, to follow my dream, I searched for that "job" by walking up and down Madison, Fifth, and Sixth Avenues in New York City and read building directories looking for entertainment related companies, after which I approached/presented myself to people I thought might be potential employers (which is indirectly how I got my first entertainment job). Thinking back, it was akin to being an actor looking for auditions and then selling myself in order to get the gig.

And for a final note, if you haven't already seen it, one of the most entertaining and actually informative movies for an actor is the feature "The Big Picture" (1989). It is worth checking out. ("Suggested viewing" in my UCLA class).

And lastly, remember this about making it in the business, THERE ARE NO RULES !

"This Business of Acting"™ at UCLA Extension (Q8496) is about an actor's financial success and is probably the first course of its kind ever to be offered at the college level in the country. It is a course that I designed in order to inform the actor of the business aspects of their career thereby complementing basic acting training classes. The semester course will cover deals (tv pilots, etc.), agents and managers (getting them and getting the most out of them), publicists and self-promotion, unions (protections and insurance), the casting process and the casting director's job, tax deductions and incorporating, overcoming what you're up against, value of working in Canada, marketing tools and strategies, etc. etc. etc.

Questions concerning career decisions are welcome and encouraged.

The full course description can be viewed at: uclaextension.edu, by clicking on the tab "Quick Enroll", and typing in Q8496.