The Method and the Computational Theory of Mind
In this post-postmodern moment, it is time to engage Stanislavsky and the Method and observe key terms such as action, emotion, and given circumstances afresh, reexamining the general principles underlying them.1 The various “Methods,” as taught by Stella Adler, Sanford Meis- ner, Lee Strasberg, and others, remain the foundation for much of the actor training in the United States, but their ideas have been weakened by misunderstanding on the parts of actors, acting teachers, theorists, and even the master teachers themselves. They have been challenged by the rise of postmodern theories; mistrust of Freudian views of psychology and humanist-modernist views of identity; critiques of realism, representation, and mimesis; and the impact of performance modes resistant to psychological realism.
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- 2.See, for example, Richard Hornby, The End of Acting: A Radical View (New York: Applause, 1992)Google Scholar
- Colin Counsell, Signs of Performance: An Introduction to Twentieth-Century Theatre (London: Routledge, 1996)Google Scholar
- Acting (Re) Considered: Theories and Practices, Phillip Zarrilli, ed. (London: Routledge, 1995)Google Scholar
- W. B. Worthen’s “Actors and Objects,” Modern Drama and the Rhetoric of Theater (Berkeley: University of California Press, 1992), 54–98Google Scholar
- 3.Steven Pinker, How the Mind Works (New York: Norton, 1997), 24.Google Scholar