What makes good acting? The answer is actually quite simple – inspiration. But what is inspiration and how does it occur?
For many actors, inspiration is something that happens randomly. Some evenings they go on stage and everything flows extremely well and everything they do makes sense. Other nights, nothing feels right and they stumble through to the best of their ability, uninspired.
The first man to raise this issue was Konstantin Stanislavski. He was an actor, director, and producer during the late 1800s and 1900s, and he formulated the first concise process for actor education, which he called & # 39; The system & # 39;. This later became the prerequisite for & # 39; The method & # 39; developed by Lee Strasberg. In Stanislavski's study of how the actor could inspire himself, he categorized actors into three types; creative, imitative and stage hack.
Creative actors can stimulate their instrument (the human body) to live on stage with the help of real experiences. They actually generate real experiences within their performances, giving them life.
Imitative actors may not have real experiences on stage, but imitate what the character is experiencing. For example, in a scene where the character has an explosion of anger, an imitative actor would actually not experience any anger but rather imitate what anger looked like. Imitative behavior is very common these days and can be seen in many soaps, where imitation is the standard.
Scenes are worse than everyone else. A stage hack is an actor who doesn't really care about the character, but is more interested in himself, the actor, and to be delighted by his audience. As a result, their performances fail in the character's life, and although they can strut with confidence and sound beautiful, their performance is emotionally empty.
Stanislavski noticed that with his own performances he was sometimes a creative actor, and at other times, an imitative actor. He wanted to be creative consistently and began to understand where inspiration came from. He talked to a lot of actors at the time, including Elenora Duse, a brilliant Italian actress, and discussed how she approached roles. She told him that her own life was very challenging, she was drawn to drunk and abusive men, she was an Italian in America and spoke with a broken English accent, she was just as good as her last performance dictating her future roles and that she had to wear all her costumes and belongings all over America herself! But instead of seeing this part of her life as a distraction to her actors, she used it as inspiration. She understood that her own personal experiences could be used to inform the characters & # 39; experiences.
From this understanding was born the method of acting.
Classic Hollywood Cinema
Classic Hollywood Cinema is the era of the movie industry that began with the film release of "The Birth of a Nation." It contains both Silent Era and Studio Era for filmmaking. The mode of production during this timeframe unique to classic film encouraged film directors to see their work from an employee of the studio rather than as auteurists who exercised creative control over their works with an individual film style. The era of classic film ended in the 1960s when the film industry embarked on a new post-classic film style by auteurist directors with the release of "Bonnie and Clyde" (1967) as well as other landmark films during that decade.
The Silent Era is often referred to as the "Age of the Silver Screen" from 1917 to 1928. During this time, there was no sound or synchronized speech that came with the character's images projected on the movie screen. To cater for the lack of sound, captions were used to emphasize important points and dialogue in the story. Often, the projection of silent films was accompanied on the big screen by live instrumental music (pianist, organist or even a large orchestra). The stylistic elements that are fundamental to classic Hollywood silent filmmaking were implemented through the Silent Era's Director-Unit System. This filmmaking system included a fully integrated workforce with a set of employees who had precise responsibilities under the direction of the film director.
Studio Era was a period in film history that began after the end of the silent era (1927/1928) with the release of "Jazz Singer", the first full-length film that contained narrative sequences in it. The advent of Studio Era also marked the beginning of the "Golden Age of Hollywood." Irving Thalberg's contribution was significant in the development of Hollywood's Central Producer System during the Studio Era while he was Production Manager at Metro-Goldwyn-Mayer (MGM). In fact, the successful transition of classic Hollywood movie production style from Silent Era's Director-Unit System to Studio Era's Central Producer System at MGM took place under Thalberg's leadership. His ability to produce a quality film with aesthetic value was demonstrated by his balanced view of budget controls, script and story development and the use of the "star system" in the successful movie "Grand Hotel".
Intrinsic to the studio system, the marketing strategies for films used by the big Hollywood movie studios were quite simple and straightforward, as the studios got most of their money from ticket sales for theater shows across America. At that time, there were five large studios that owned a production studio, distribution arm, contract with actors and technical support staff, and a theater chain. These studios were known as "Big Five" and included Warner Brothers, Paramount Pictures, Twentieth Century-Fox, Radio-Keith-Orpheum (RKO) and Loew's, Inc. (owner of Metro-Goldwyn-Mayer / MGM) . Their revenue came from money paid by the theaters to rent movies from the studios. Because the "Big Five" studios controlled almost every theater in America, they got most of their money from ticket sales.
To further expand their power over movie theaters across America, these studios took steps to control almost all less independently owned theaters as well. Through the "block booking" procurement process, theater owners were required to show a block of films (usually in blocks of ten) in their movie houses. If the independently owned theaters did not agree to buy a block of films from a studio, they would not receive any films from the studio at all. Thus, during the Studio Era, the Hollywood film industry was closely controlled by the powerful studio moguls. But in 1948, a federal court case banned block booking. The US Supreme Court ruled that the vertical integration of major violations of federal antitrust laws and ordered "Big Five" companies to sell their theaters for a five-year period. This decision basically broke the studio system at the end of 1954.