СЕКРЕТ АКТЕРОВ ГОЛЛИВУДА РАСКРЫТ | Метод Ли Страсберга — Transcript

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1. 0:00Would you like to have the perfect memory?
2. 0:01To, like Magnussen (the antagonist of the series "Sherlock"),
3. 0:04penetrate into the halls of his mind, as if into an imaginary room,
4. 0:07and sort out his memories.
5. 0:10Remember every emotion you have experienced.
6. 0:13And all this without the help of all sorts of illegal drugs, like in the movie The Domain of Darkness.
7. 0:17Well, out of curiosity. And that's it.
8. 0:19Sounds unreal.
9. 0:20And yes, it's basically useless.
10. 0:23Why should I memorize the faces of passers-by that I will never meet again?
11. 0:27Why remember how I brushed my teeth in the morning, went to work, ate an omelette.
12. 0:31Okay, I remember the omelette, it was delicious. But for the rest?
13. 0:34We, like programmed androids,
14. 0:36like the hero of the play, the man from Podolsk,
15. 0:38perform the same set of actions.
16. 0:41And to the question: "What's new?" We answer:
17. 0:43"Yes, like anything."
18. 0:44Meanwhile, even in ordinary everyday life, you can discover something new for yourself,
19. 0:48look for happiness in small details.
20. 0:50So did Lee Strasberg,
21. 0:52an American director and creator of the famous Hollywood acting technique.
22. 0:56His method, based on the Stanislavsky system, will help you pump
23. 0:59up your emotional memory, develop all the senses,
24. 1:02get rid of unnecessary clamps, and become a real actor.
25. 1:06Not at the snap of your fingers, of course,
26. 1:08but in the process of everyday work and attention to yourself,
27. 1:11to your body and thoughts.
28. 1:12My regards! This channel is about theater.
29. 1:14And today we will tell you about Lee Strasberg's acting method.
30. 1:17And, if you want to develop your skills to the level of Al Pacino, Dustin Hoffman,
31. 1:22or you are just curious to know what technique many
32. 1:25Hollywood celebrities use,
33. 1:27sit back, make some tea.
34. 1:30And we begin
35. 1:32the Path to the method
36. 1:37A bit of history.
37. 1:38The 20s of the 20th century, New York,
38. 1:42the Moscow Art Theater comes to visit the American audience
39. 1:46under the direction of the legendary types Stanislavsky and Nemirovich-Danchenko.
40. 1:50The young actor of the Moscow Art Theater Richard Boleslavsky rises to the stage of the
41. 1:53Broadway Theater "Princess" and confidently says
42. 1:57the following phrase to American actors, directors and producers:
43. 2:01Man cannot live without art.
44. 2:04Then he drops the mic and dab three times.
45. 2:06From that moment on, his lectures on the Stanislavsky system begin, and
46. 2:10for the first time, Americans learn about a new acting religion that can completely
47. 2:15change their culture.
48. 2:16To popularize the system of your master? Made!
49. 2:19Establish a laboratory theater where, for the first time in America, the
50. 2:23acting profession will be comprehensively trained?! There is also.
51. 2:27Shoot a movie for Hollywood, ten of which were nominated for an Oscar?!
52. 2:30And it is!
53. 2:31And Boleslavsky did all this.
54. 2:34It was in his Laboratory Theater that the
55. 2:37main character of our issue, Lee Strasberg, learned the basics of the Stanislavsky system.
56. 2:40The young youth of Jewish origin
57. 2:42was an unprepossessing fellow. Growth is low, physique is frail.
58. 2:47Well, what kind of actor are you, kid?!
59. 2:49You will not enter either Sliver or Pike.
60. 2:51Meanwhile, Lee was an extremely purposeful guy
61. 2:54who, as a result, achieved a lot, and not only as an actor, but also as a teacher,
62. 2:59the creator of his own method.
63. 3:01In 1931,
64. 3:03Strasberg became one of the founders of the theatrical group "Group Theatre"
65. 3:08and staged performances there, relying entirely on the system of the greatest
66. 3:12Konstantin Sergeevich.
67. 3:14However, then he
68. 3:15leaves the theater after quarreling with the rest of its founders.
69. 3:18And all because of the system.
70. 3:20At this moment, Strasberg begins to create his personal acting technique,
71. 3:24which does not just copy-paste everything that Stanislavsky has, but, on the contrary,
72. 3:28develops his system.
73. 3:30Here we should also say something about the situation in the American cinema
74. 3:32and theater that developed in the 1930s.
75. 3:34At this time, producers dominated everything, who needed a
76. 3:37commercial product with painted actors of model appearance.
77. 3:40It doesn't matter if he can't play.
78. 3:42Talented actors in rare cases had some weight for them.
79. 3:45Group Theater decided to oppose this system, but did so without success.
80. 3:50Strasberg took a different path.
81. 3:52He decided not to openly fight with the producers,
82. 3:54but to gently infiltrate the commercial system and change it from the inside.
83. 3:59It turned out to be done already in the 50s.
84. 4:01Only some 20 years have passed.
85. 4:03When America needed art
86. 4:05to help them survive the difficult post-war period.
87. 4:08Powerful films and performances with cool acting,
88. 4:11where you can immediately see: a person does not trade in face, but makes the viewer empathize with him.
89. 4:16And just then the students of Lee Strasberg found their audience.
90. 4:19The Strasberg method was created within the walls of the Actors studio acting school.
91. 4:23And in 1969, the Lee Strasberg Theater and Film Institute appeared,
92. 4:28which to this day prepares future Hollywood stars.
93. 4:31Angelina Jolie, Steve Buscemi, Scarlett Johansson
94. 4:34and a huge number of faces that you see now in the cinema studied there.
95. 4:39Strasberg Method
96. 4:44How did Lee Strasberg come up with his method?
97. 4:46Well, to put it quite bluntly, Lee did the following:
98. 4:50he took a piece from Stanislavsky's system
99. 4:52, where he talks about the role of affective memory for an actor,
100. 4:56and made his own method.
101. 4:59In fact, everything was more complicated and more interesting.
102. 5:02But still, it cannot be denied that the core of Strasberg's acting method is
103. 5:07affective memory (or emotional). So, now let's go in order.
104. 5:10In the process of transforming into a character, an actor according to the Strasberg method goes through three
105. 5:15main stages. And he starts with relaxation.
106. 5:18Before starting to work on the role, the actor needs to get rid of all the clamps.
107. 5:22Both physical and psychological. And turn yourself into a white sheet.
108. 5:27Any tension will not allow the actor to truly feel his character.
109. 5:30So first you need to relax, forget about the anxieties of the past
110. 5:35even for a moment.
111. 5:36And for this you do not need to run to the Spa or float.
112. 5:39You can do
113. 5:41basic relaxation exercises just by sitting in a regular chair.
114. 5:45Sit where you are comfortable.
115. 5:47But not too much.
116. 5:48Relaxation in this context is not just relaxing comfortably in a chair
117. 5:51after a hard day's work.
118. 5:53Then, in turn
119. 5:54, tense and relax various parts of the body, starting from the head
120. 5:58and ending with the legs.
121. 5:59An alternative exercise, it seems to us, can be
122. 6:03an iron man exercise, where we strain and relax all parts of the body while standing.
123. 6:08We showed it in a video about diction.
124. 6:10It would be nice if someone else helped you during the exercise.
125. 6:14In the theatre, this is done by the teacher.
126. 6:16He should touch you, raise your hands, for example, and check
127. 6:20whether you are really relaxed or not enough.
128. 6:24Better, of course, let a professional teacher do it.
129. 6:26There are more benefits to this. But mom will too.
130. 6:29And even better, when mom is a teacher,
131. 6:33that's good too.
132. 6:34Here you have done exercises to relax the body,
133. 6:37but you need to think about relieving internal tension.
134. 6:41Free your head from unnecessary thoughts.
135. 6:43And to do this, you need to gradually relax 4 zones.
136. 6:47Relax your forehead.
137. 6:48Don't become a famous meme.
138. 6:50Let the energy flow out of this zone.
139. 6:53Yes, we forget all the hardships of this day,
140. 6:55problems at work,
141. 6:56A terrible snowfall, because of which you had to clean the car for three hours.
142. 7:00Forget everything that has been bothering you lately.
143. 7:03These problems are insignificant in the face of the universe.
144. 7:07Okay, now we relax the area from the bridge of the nose to the eyelids.
145. 7:11Say no to crazy eye blinking.
146. 7:14To do this, you just need to half-close your eyes, as if you are going to sleep.
147. 7:17Somehow like this. And relax.
148. 7:20So great!
149. 7:21Now we relax the muscles along the edges of the nose, which go down to the mouth and chin.
150. 7:27To do this, yawn or pretend to be drunk.
151. 7:29It helps too.
152. 7:30Sometimes you can
153. 7:32talk like this for a little while.
154. 7:34In general, you can
155. 7:37relax these muscles in this way, remove the clamps.
156. 7:41Now relax the lower part, that is, the chin.
157. 7:44We put a fist under the chin and open the jaw to the maximum.
158. 7:48At the same time, we press our fist on the chin,
159. 7:50that is, we feel resistance, we do not let the mouth close.
160. 7:52And after that,
161. 7:54after such tension, you can completely relax the jaw.
162. 7:57Well, in the end, slowly stretch your neck,
163. 8:02gently tilt it in different directions.
164. 8:06And circular rotation,
165. 8:08although they say in general that this is not very useful.
166. 8:10But if you do it carefully, you can.
167. 8:14This whole set of exercises must be done slowly and very carefully.
168. 8:19Usually at the Strasberg school they are made in 30-40 minutes.
169. 8:22But in addition to general stress relief exercises, there are more specific ones.
170. 8:26Some of the actors, for example, may have a clamp
171. 8:29due to some psychological problems that come from childhood.
172. 8:32To do this, Lee Strasberg held separate conversations with this actor,
173. 8:36trying to understand and understand the cause of the clamp.
174. 8:39In this case, the theater teacher
175. 8:41should be in some sense a psychologist.
176. 8:43As in Grotovsky's system... Hmm...
177. 8:46Who stole from whom?
178. 8:47Second.
179. 8:48For a true performance on stage or in the frame, the actor needs to concentrate.
180. 8:53To do this, you need to learn to
181. 8:54stop your attention on different, sometimes quite familiar things.
182. 8:58To the smells we smell, the taste of cherry pie.
183. 9:02So, if you're playing Agent Cooper on Twin Peaks, it's
184. 9:05convincing to say
185. 9:12damn delicious.
186. 9:15And here we come to the most important part
187. 9:17of Strasberg's method, affective memory.
188. 9:20Lee believed that personal experience is the main assistant to the actor.
189. 9:24Here you are playing the scene of first love and like this:
190. 9:28I, too, once fell in love for the first time.
191. 9:30It was at school, and the girl's name was Bertha Thalberg.
192. 9:34I looked at her curly hair and realized that
193. 9:37something had changed in me, that I could no longer think about studying.
194. 9:40I can only look at her photo, write poetry,
195. 9:44and get stars from her boyfriend, of course.
196. 9:47You remember this feeling and begin to play a scene,
197. 9:50substituting your personal experience.
198. 9:52Is it possible to relive the same events and feel something again?
199. 9:56Yes it is possible.
200. 9:58So, for example, poets seal their emotions in poems
201. 10:01And then at any time they can
202. 10:03open this envelope with memories and return to long-forgotten feelings.
203. 10:07Well, either you are a culinary critic, as in the cartoon Ratatouille.
204. 10:10You try dishes, remember your childhood, and an avalanche of memories covers you.
205. 10:14The actor can do it too.
206. 10:16And in order to be able to manage your emotional memory, you need exercises.
207. 10:21One of the most famous is the coffee cup exercise.
208. 10:25To do it, sit on a chair and remember the morning cup of coffee or tea.
209. 10:29Depending on what you drank today.
210. 10:31Imagine it in your hands, remember
211. 10:33what shape it was, what you thought about while drinking coffee, feel its aroma,
212. 10:38Remember how you were sitting, in what mood you were.
213. 10:41And now, gradually, by small details, you open that morning anew
214. 10:45and as if you are living that moment again.
215. 10:48Usually Strasberg himself asked all these questions.
216. 10:50The actor began to remember, and Lee helped him with leading questions.
217. 10:54Etudes are great for awakening emotional memory for an actor.
218. 10:58These are sketches like an artist's.
219. 11:01So, one actress from his studio was preparing for a scene
220. 11:04where she had to tell her sisters about her love.
221. 11:07Chekhov's play "Three Sisters".
222. 11:09To play this scene, the actress showed a sketch.
223. 11:12She opened an imaginary door, knelt down and prayed.
224. 11:16After this sketch, she played the scene simply incomparably.
225. 11:19This begs the question: how did this etude affect her playing?
226. 11:23As it turned out, it was a childhood memory.
227. 11:27She was supposed to go to confession, but she didn't know what to say at all.
228. 11:31And the nanny told a story about St. Peter,
229. 11:34whom God instructed to find the most beautiful thing on earth.
230. 11:37But St. Peter constantly came with the wrong thing,
231. 11:41and once he brought God a tear of a child during confession.
232. 11:45This was the most beautiful thing on earth.
233. 11:47This touched the future actress so much that she also wanted to come to confession
234. 11:52and burst into tears.
235. 11:53Curious, right? It seems
236. 11:56that this is not directly related to the recognition of why it still helped her play the scene.
237. 12:01It so happened that, despite the different situations, the feelings still coincided.
238. 12:05Feelings of a girl going to confession, and a girl
239. 12:08who confesses her love.
240. 12:10This example proves one more thing:
241. 12:12To truly play something on stage, you don't have to have exactly the same
242. 12:16example from your own life.
243. 12:17If you're going to play a drug addict, you don't have to smoke for real.
244. 12:21This is harmful, and we do not approve of it.
245. 12:23According to the famous acting teacher Ivana Chubbuck,
246. 12:28one of the actresses had to play a drug withdrawal scene in the film.
247. 12:32How to do this if you have never been in such a state in your life?
248. 12:36Chubbuck suggested remembering
249. 12:37a moment in your life when you really wanted something, but it was impossible.
250. 12:42The actress thought and said: "I was on a strict diet
251. 12:45and dreamed of french fries."
252. 12:49Oh no, you don't have to eat it.
253. 12:54Why?
254. 12:56Thus, there was a substitution
255. 12:57of french fries, drug withdrawal ..
256. 13:01Equal.
257. 13:02The Strasberg method is used by Hollywood actors to this day.
258. 13:05Moreover, they exercise not only during their studies, but also during filming.
259. 13:10In America, there is even a term like this: self check.
260. 13:13This is when you are a professional actor
261. 13:14And before you start filming, you sit down for 5-10 minutes and take off all your clamps.
262. 13:19The Lee Strasberg method is, of course, more used in film than in theater.
263. 13:23Still, the performance is staged more than once or twice, and
264. 13:27it is quite difficult to constantly play organically, using your memories.
265. 13:30Cinema is another case. Here you play for the camera once and that's it.
266. 13:34But still, some of the exercises that Lee Strasberg created
267. 13:36are also used by theater actors.
268. 13:39The Lee Strasberg Technique
269. 13:40not only teaches us how to act, but also helps us get rid
270. 13:44of cramps, terrible habits that make our life mechanical.
271. 13:48And thus, gray everyday life becomes brighter.
272. 13:51After all, the best moments are remembered the best.
273. 13:53But how can this help us in everyday life?
274. 13:55Well, for example, you can remember: so, this morning
275. 14:00, as usual, I made myself coffee, put three spoons of sugar and looked out the window.
276. 14:07And in the window
277. 14:08I saw birds
278. 14:10First one, then two, then three.
279. 14:13And I realized that they are coming back.
280. 14:15I inhaled this aroma
281. 14:18of Arabica with hints of orange
282. 14:21and saw birds returning against the backdrop of white, white snow.
283. 14:26And then?
284. 14:28And then I put my left sock in here.
285. 14:31Thanks Lee Strasberg!
286. 14:33Only now to find the right one.
287. 14:35Apparently, you will have to turn to some other acting technique.
288. 14:38If you want, I'll tell you. You can find
289. 14:40more interesting facts and exercises that were not included in this issue
290. 14:44in our VK group and on Facebook.
291. 14:47Like if you want to know about other Hollywood techniques.
292. 14:50And subscribe to our channel.
293. 14:52The curtain.
294. 14:56I took a
295. 14:56piece from Stanislavsky's system, where he talks about the role of affective memory for an actor
296. 15:01and made his own method
297. 15:03*the book hit Vanya*
298. 15:10That's it, Vano was knocked out.
299. 15:14Ha ha, my head.
300. 15:16And most importantly: it was not visible how I threw it away, how it flies.
301. 15:20how wylsacom does it that no one gets hurt.
302. 15:25Right sock, left sock
303. 15:28Socks are a pain.