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Emotion Training and the Mind/Body Connection

Alba Emoting and the Method
  • Pamela D. Chabora
Chapter

Abstract

Do actors really need to experience true emotion on stage? According to Alba specialist Roxanne Rix, assisting “student actors safely and effectively to expand their emotional range and expressiveness is an issue which concerns instructors at all levels of training.”1 The controversy between those who favor emotion training and those opposed remains an important issue. Most significant in this debate is Lee Strasberg’s Method acting techniques. This discussion focuses on the affective or emotional memory and personalization techniques of Lee Strasberg, and on Alba Emoting, a “psychophysiological technique to help actors create and control real emotions” developed by neuropsychologist Susana Bloch.2

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Notes

  1. 2.
    Susana Bloch, “Alba Emoting: A Psycho-physiological Technique to Help Actors Create and Control Real Emotions,” Theatre Topics 3 (Sept. 1993): 121–37.CrossRefGoogle Scholar
  2. 3.
    See, Paul Eckman and Lauren Friesen, Unmasking the Face (New York: Prentice-Hall, 1975).Google Scholar
  3. 4.
    For a discussion on “pure” emotion, see Susana Bloch, Pedro Orthous, and Guy Santibanez-H, “Effector Patterns of Basic Emotions: A Psychophysiological Method for Training Actors,” Journal of Social and Biological Structures 10 (1987): 4.CrossRefGoogle Scholar
  4. 5.
    Loraine Hull, Strasbergs Method (Woodbridge, CT: Oxbow, 1984), 83.Google Scholar
  5. 7.
    Uta Hagen, Respect for Acting (New York: Macmillan, 1991), 48.Google Scholar
  6. 8.
    Dwight Edward Easty, On Method Acting (Florence, AL: Allograph Press, 1966), 33–50.Google Scholar
  7. 10.
    Lawrence Parke, The Method as a System for Today’s Actor (Hollywood: Acting World Books, 1985), 163.Google Scholar
  8. 13.
    Richard Schechner, “Image, Movement, and the Actor,” TDR 10.3 (1966): 50–59.Google Scholar
  9. 22.
    See Susana Bloch and G. Santibanez-H, “Commentaries on Effector Patterns of Basic Emotions,” Journal of Social Biological Structure 11 (1998): 201–11.Google Scholar
  10. 31.
    Ramon Delgado, personal interview, November 23, 1992. Delgado is the author of Acting With Both Sides ofYour Brain (New York: Holt, Rinehart, and Winston, 1986).Google Scholar

Copyright information

© David Krasner 2000

Authors and Affiliations

  • Pamela D. Chabora

There are no affiliations available

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