A King of Infinite Space
What’s the nutshell? For an artist, the limitations of their art form. For a ballet dancer, or a Kabuki actor, or a writer of Haiku, the limitations are very strict. For an actor, a writer of novels, or a be-bop saxophonist, the nutshell can be much larger. But it’s still a nutshell…
COMING SOON! LE POUVOIR: four plays by Harold Pinter. Directed by Robert Castle. Given the current atmosphere of xenophobia and general fear of the “other” rising to an alarming degree in Western societies, these four plays by Harold Pinter seem especially timely
Learning To Drive The Character
There has been much needless controversy amongst those who practice acting techniques that derive from the work of Stanislavski and Strasberg, principally surrounding the issue of building character
Most film audiences had never seen an actor like this before. Two earlier Method actors, John Garfield and Montgomery Clift, had had something of Brando’s impulsive realistic technique, but not until Brando did an actor make an audience so uncomfortable
Strength, Vulnerability and the Actor
Many actors who train in a Stanislavski or Strasberg based approach devote much of their energy toward achieving highly vulnerable emotional states. I have even encountered students whose primary training objective is to be able to cry on cue.