Modern Acting: The Lost Chapter of American Film and Theatre (Palgrave Studies in Screen Industries and Performance)

Annotation Everyone has heard of Method acting ... but what about Modern acting? This book makes the simple but radical proposal that we acknowledge the Modern acting principles that continue to guide actors' work in the twenty-first century. Developments in modern drama and new stagecraft led Modern acting strategies to coalesce by the 1930s - and Hollywood's new role as America's primary performing arts provider ensured these techniques circulated widely as the migration of Broadway talent and the demands of sound cinema created a rich exchange of ideas among actors. Decades after Strasberg's death in 1982, he and his Method are still famous, while accounts of American acting tend to overlook the contributions of Modern acting teachers such as Josephine Dillon, Charles Jehlinger, and Sophie Rosenstein. Baron's examination of acting manuals, workshop notes, and oral histories illustrates the shared vision of Modern acting that connects these little-known teachers to the landmark work of Stanislavsky. It reveals that Stella Adler, long associated with the Method, is best understood as a Modern acting teacher and that Modern acting, not Method, might be seen as central to American performing arts if the Actors' Lab in Hollywood (1941-1950) had survived the Cold War Also by Cynthia Baron 6 Contents 8 List of Illustrations 10 Acknowledgements 12 Introduction 14 Design and Delimitations 17 Notes 27 Part I: Making Modern Acting Visible 30 Chapter 1: A Twenty-First-Century Perspective 31 Hollywood and the History of American Acting 35 Studio Publicity Versus the New Demands of Sound Cinema 37 Notes 43 Chapter 2: Acting Strategies, Modern Drama, and New Stagecraft 47 The Unique Features of Strasberg’s Method 52 Strasberg’s Ideas on Sense Memory and Emotional Memory 54 Strasberg’s Decisive Break with Stanislavsky 59 Notes 63 Chapter 3: Modern Acting: A Conscious Approach 68 Modern Acting: A Shared Perspective for Actors of the Period 75 “Truthful” Emotion: Modern Acting vs. the Method 80 Notes 82 Chapter 4: Modern Acting: Obscured by the Method’s “American” Style 87 Competing Visions of American Acting 91 Reframing the Work of Montgomery Clift and Marlon Brando 100 Notes 107 Part II: Acting and American Performing Arts 111 Chapter 5: Developments in Modern Theatre and Modern Acting, 1875–1930 112 Repertory Companies: Sites for Exploring Modern Acting 114 The Rise of Acting Schools in America 119 American Laboratory Theatre: Repertory Company and Acting School 122 Notes 130 Chapter 6: Shifting Fortunes in the Performing Arts Business 135 The Acting Talent Diaspora and Its Context 135 The Group: A Window into the Era’s Material Realities and Acting Debates 142 Notes 155 Part III: The Creative Labor of Modern Acting 159 Chapter 7: The American Academy of Dramatic Arts 160 From the Academy to Broadway and then Hollywood 161 Training in Modern Acting at the Academy 165 Reflections on Jehlinger’s “Method” and Teaching Style 171 Notes 174 Chapter 8: The Pasadena Playhouse 177 The State Theatre of California 180 Training in Modern Acting at the Playhouse 183 The Playhouse as a Major Center for Talent Development 187 Notes 190 Chapter 9: Training in Modern Acting on the Studio Lots 193 Gender and Modern Acting Teachers 203 Notes 206 Chapter 10: The Actors’ Laboratory in Hollywood 210 The Actors’ Lab and Its Era 211 Training in Modern Acting at the Lab 217 Politics and the Demise of the Actors’ Lab 222 Notes 231 Part IV: Modern and Method Acting 237 Chapter 11: Modern Acting: Stage and Screen 238 Building Characters and Performances 248 Notes 257 Chapter 12: The Legacy of Modern Acting 262 Complications of the Stanislavsky Rubric 265 Method Acting and American Popular Culture 268 Differing Legacies 271 Notes 276 Appendix: Group Theatre, Alfred Lunt, and Katharine Cornell Productions 281 Bibliography 284 Index 296 Everyone Has Heard Of Method Acting, But What About Modern Acting? This Book Makes The Simple But Radical Proposal That We Acknowledge The Modern Acting Principles That Continue To Guide Actors' Work In The Twenty-first Century. Developments In Modern Drama And New Stagecraft Led Modern Acting Strategies To Coalesce By The 1930s--and Hollywood's New Role As America's Primary Performing Arts Provider Ensured These Techniques Circulated Widely As The Migration Of Broadway Talent And The Demands Of Sound Cinema Created A Rich Exchange Of Ideas Among Actors. Decades After Strasberg's Death In 1982, He And His Method Are Still Famous, While Accounts Of American Acting Tend To Overlook The Contributions Of Modern Acting Teachers Such As Josephine Dillon, Charles Jehlinger, And Sophie Rosenstein. Baron's Examination Of Acting Manuals, Workshop Notes, And Oral Histories Illustrates The Shared Vision Of Modern Acting That Connects These Little-known Teachers To The Landmark Work Of Stanislavsky. It Reveals That Stella Adler, Long Associated With The Method, Is Best Understood As A Modern Acting Teacher And That Modern Acting, Not Method, Might Be Seen As Central To American Performing Arts If The Actors' Lab In Hollywood (1941-1950) Had Survived The Cold War.--publisher Description. A Twenty-first-century Perspective -- Acting Strategies, Modern Drama, And New Stagecraft -- Modern Acting: A Conscious Approach -- Modern Acting: Obscured By The Method's American Style -- Developments In Modern Theatre And Modern Acting, 1875-1930 -- Shifting Fortunes In The Performing Arts Business -- The American Academy Of Dramatic Arts -- The Pasadena Playhouse -- Training In Modern Acting On The Studio Lots -- The Actors' Laboratory In Hollywood -- Modern Acting: Stage And Screen -- The Legacy Of Modern Acting. Cynthia Baron. Includes Bibliographical References (pages 267-278) And Index. Front Matter....Pages i-xxviii Front Matter....Pages 1-1 A Twenty-First-Century Perspective....Pages 3-18 Acting Strategies, Modern Drama, and New Stagecraft....Pages 19-39 Modern Acting: A Conscious Approach....Pages 41-59 Modern Acting: Obscured by the Method’s “American” Style....Pages 61-84 Front Matter....Pages 85-85 Developments in Modern Theatre and Modern Acting, 1875–1930....Pages 87-109 Shifting Fortunes in the Performing Arts Business....Pages 111-134 Front Matter....Pages 135-135 The American Academy of Dramatic Arts....Pages 137-153 The Pasadena Playhouse....Pages 155-170 Training in Modern Acting on the Studio Lots....Pages 171-187 The Actors’ Laboratory in Hollywood....Pages 189-215 Front Matter....Pages 217-217 Modern Acting: Stage and Screen....Pages 219-242 The Legacy of Modern Acting....Pages 243-261 Back Matter....Pages 263-300