NJTheatreMOM

Forrest speaks of technique as opposed to methods. Kjgc mentions the value of discipline and craft.

I think I have some idea of the difference between "technique" and "method," but could somebody more knowledgeable please explain the difference?

With examples?

(At the Stella Adler Studio in New York, students take classes in "Adler Technique." I would have thought that Adler Technique is more of a method than a discipline or a craft. But I could be wrong. It gets confusing....)

kjgc

Semantics. I would argue that the term "method" is far too loaded to use in these instances. We think of things like "she's a method actor." Of course, this refers to the teachings of Stanislavsky. Of course, those teachings have been modified, refined, and outright changed by many acting teachers since that time. And several use the term "method" to describe their approach.

Technique and craft (in my case) are best described in terms of painting. Knowing color, form, line, etc. are part of the craft. Mastering those goes a long way in helping you create art. But, if I might paraphrase Picasso... "anyone can be taught to draw, no one can be taught to be an artist."

As teachers in the art of theatre, the best we can do is help students master technique and help them find their own artistic voice. But it is vital that the craft (techniques) be as close to "mastered" as they can be by the time a student leaves us.

You might also think of it as learning scales. Necessary, important, vital, but not art. Being able to play those scales every day, without any change, and making certain they are perfect... that is discipline.

forrest

True that technique and method get muddled as concepts. What I mean by technique is phsyical and vocal training, period. What I mean by methods are Meisner, Strassberg, Alder, and all other systems that help you with the imaginative and emotional demands of being an actor.

NJTheatreMOM

So I guess the bottom line is that it's good to seek a program that offers the most and best possible voice and physical training.

In addition, one should investigate whether the school emphasizes a single system of actor training, or whether they offer a "tool-box" approach where you can be exposed to elements of different systems and see what works best for you.

I understand that DePaul's 4-hour audition includes a workshop where students get a taste of the system of actor training that they emphasize there, which is, I believe, called Spolin improv training. That seems like a good idea to me.

kjgc

Exactly right NJTheatreMom. Toolbox. Good term.

he-art4276

You would think toolbox would be a good term, I asked one of my auditor's if their acting training was like that and I got a snotty chuckle in return. Needless to say that school wasn't interested in me but I just thought it was interesting because it's a term that's thrown around a lot on this website. Just don't be surprised in the audition room if things like that happen. Most auditors are very warm and kind, even if they know they aren't considering you (which they do from about a minute in, maybe even 30 seconds in) but there are some that treat you like you're just another number whose audition fee pays for their room and coffee. Don't sweat it though, if you get treated like that or pick up those vibes, chances are you wouldn't have wanted to be there anywhere.

forrest

I am going way out on a limb here and am presently preparing for the slings and arrows that may be headed my way.

I would be mistrustful of any program that touts one method as better than another, or worse, teaches only one method. And I am talking about a four year college program here.
Every actor I have ever known picks and chooses what works for them. You should expose yourself to as many different ideas - with a completely open mind - as you possibly can. You will take to some, reject others - and sometimes, years later, come to embrace a concept that you thought foolish at one time. Being an actor is about being proficient - or better - physically and vocally, and having an imagination without boundries. Most methods will attempt to develop your imagination and explore your emotions, often in a very gut wrenching way. After all, if you don't really know how you feel, how can you assess how a character might feel?

kjgc

forrest... slings and arrows? Really? I don't know of anyone who would think what you had to say should be chastised. I agree wholeheartedly. I think it is great advice to the undergrad.