From Stanislavski to Adler : an actor’s work on the character

Abstract

The late American actress and character acting pioneer, Stella Adler classifies technique as ‘first of all a way of controlling what we do on stage. It’s also a way of helping us reach something deeper, something less tangible, something more difficult’. Bearing this perspective in mind, the following dissertation elaborates upon the concept that Adler is reaching for – the character. The exploration of the dichotomous relationship between actor and character is at the centre of this dissertation – highlighting its position both in terms of a number practitioners and their respective techniques and methodologies, which include Konstantin Stanislavski, Lee Strasberg, and also particularly, Stella Adler. The dissertation will explore Adler’s methodology on characterisation within actor training, with particular emphasis on the role of the playwright and text, the use of actions over emotion, and the role of the actor’s imagination within her technique. The aim is to highlight how these techniques aid the actor to develop his or her characters. Reference will be made to the formation of her understanding of character development and the influence that Stanislavski had on her work. Adler’s theories will then be applied to three practice-based case studies. These practice-based case studies will allow one to explore and investigate the practicality of Adler’s exercises and discuss the results produced.