|Could you say that your tools as an actor pertain to a certain school or concrete method?
I have to say that for me this is not the case. I have always taken opportunities to learn and study with a wide variety of professionals all over the world and I think that this has helped me because you can expand your knowledge and skills and creating something which is unique to me.
If I did, I would be telling the "Director" how I should perform it...
"No Mr Spielburg, I am inflexible on this scene, my method is CONCRETE, if you are going to challenge the School of dead Russian theatre actors you can BLOODY WELL find someone else!!!"
No, I'm a big old hotchpotch of ideas and techniques. I think it's important to look at a number of methods and then to take the bits that work for you.
I think it's all about the role you are attempting to play - know the play and then use whatever method helps you best in that instance. It's no good employing Meyerhold to panto
Not realy, no.
As each character is different, I have to approach each differently.
No, I am very much an instinctive actor.
Combination of two: Stanislavski (thanks to my work with Polish actor/director Vladek Sheybal in the very early days); and a love for British classical flamboyance (as with Olivier and others today).
I ahve taken from every method and mixed it all up to find what is useful to me.
I've taken a range of skills from different sources. At the moment I'm a fan of Meisner, and run a group in Brighton. For a long time I was a head actor, but now I like to work from the heart.
Personally my only method is no method. To this day I cannot stand Russian actors - all that Stanislavski filtered through Stalinism. What is so annoying is that they can be so incredibly talented. Oddly enough I once noticed little 'test' of Stanislavski in 'Three Sisters', at the point whatshername gives a wooden picture frame to Vershinin who is at a loss what to reply. I defy any actor on earth to get a laugh on that moment by the correct application of Stanislavski. I imagine Chekhov saying to him here 'try and get a laugh out of that with your method, you solemn arsehole!'
I would say that my tools as an actor encompass a little bit of all the great schools of thought - Meisner, Stella Adler, Stanislavski, Uta Hagen and of course anything else that works for me.
Stanislavski and Michael Chekhov mainly.
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