A Practical Application of Stanislavski and Strasberg in the Classroom and Onstage

acting Action actor actuality Affective Memory Alan analysis asked attempt audience authors Barton became become began beginning believe Biondello Brecht Brechtian called character character's choices communication complete create creative crucial dealing direction elements emotional memory enters entire example exist experience express fact feel felt Gesture give Given Circumstances Gratiano Group Group Theatre hand ideas images imagination important Justification keep learned live look Magic Marie mean merely Method methodologies moment moments nature never notion once one's onstage OPEN parallel performance physical Physical Actions play possible practice primary Psychological qualities question reality rehearsal relationship result Robert role says scene seek sense Shakespeare specific stage Stanislavski story Strasberg style System teaching tell theatre theories things Third thought truth understanding University views wanted Woyzeck York