Practicing the Paradox
In light of all the observations that the Method limits actors to their small personal selves, and all the knee-jerk associations of the Method with crude psychoanalysis, I submit that the Method encourages actors to understand their experiences, both in life and in the studio, as particular theatrical metaphors that create their characters’ behavior onstage. Creativity is metaphoric. Finding connections is the essence of creativity. The Method’s exercises foster those connections by tuning actors’ psychological instruments.
Unable to display preview. Download preview PDF.
- 1.Uta Hagen, A Challenge to the Actor (New York: Charles Scribner, 1991), 77.Google Scholar
- 2.Doug Moston, Coming to Terms with Acting (New York: Drama Publishers, 1993), 115–16.Google Scholar
- 3.Duncan Ross, “Towards an Organic Approach to Actor Training,” Educational Theatre Journal 20 (1968): 260–61.Google Scholar