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The Authentic Performer

KTB111

Case Study

Semester 1

Year 1 - 2019

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The Authentic Performer KTB111 Case Study

This case study analyses three aspects of the technique of acting known as realism.

The key methodologies of Stella Adler are closely considered and the significance of

their objectives. A report on whether or not an actor should experience everything in

life, so he/she can be a better actor. Also, exploring three approaches to researching

a role you are playing, in order to better understand the character and identify in detail

the given circumstances.

An actor doesn’t need to experience everything in life to be a better actor. If actors

experience too much, it will limit their imagination. Also limiting themselves to specific

roles, for example, a role that requires them to be naive; they can lose their sense of

innocence. Actors should be open to learning new experiences, without protecting

yourself, also without seeking experiences because they aren’t really experiencing

them being caught up in their mind. People don’t actively experience everything.

Actors should experience everything they are comfortable with, and when possible,

use the magic IF. “An actor must learn to become absorbed in some interesting,

creative problem on the stage. If he can devote all of his attention and creative faculties

to that he will achieve true grasp.” (An Actor Prepares 187) This reflects that an actor

can simply connect to an emotion or problem on stage to truly give justice to the

character, experiencing the event in your own personal life isn’t specifically necessary.

“Actors’ imaginations are the most powerful source for them to draw on. To bring

theatrical texts to life the actor must be able to create a transforming, living experience.

To create such an experience, students at the Stella Adler Studio are asked to use

their imagination to locate the fullest range of motivational force, rather than depending

solely on their personal past and emotional memory.” (Stella Adler; Studio of Acting.

2019) Actors can reflect greatly upon this quote as it explicitly states that emotional

memory and delving into personal past experiences aren’t taught or recommended for

acting, rather exploring your imagination and creating a character based upon your

creativity and the impulse and inspiration brought from the script and given

circumstances behind the character.

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The Authentic Performer KTB111 Case Study Semester 1 Year 1 - 2019 The Authentic Performer KTB111 Case Study This case study analyses three aspects of the technique of acting known as realism. The key methodologies of Stella Adler are closely considered and the significance of their objectives. A report on whether or not an actor should experience everything in life, so he/she can be a better actor. Also, exploring three approaches to researching a role you are playing, in order to better understand the character and identify in detail the given circumstances. An actor doesn’t need to experience everything in life to be a better actor. If actors experience too much, it will limit their imagination. Also limiting themselves to specific roles, for example, a role that requires them to be naive; they can lose their sense of innocence. Actors should be open to learning new experiences, without protecting yourself, also without seeking experiences because they aren’t really experiencing them being caught up in their mind. People don’t actively experience everything. Actors should experience everything they are comfortable with, and when possible, use the magic IF. “An act ...
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