So, You Want To Be An Actor-But Acting Isn't For You

How Can You Be An Actor Without Learning These World's 6 Best Techniques? 

The best 6 acting techniques to learn

Warning! Only for earnestly focused actors

Acting

• Acting is a skill, therefore there must be some sort of method behind it! Then, anyone who has studied acting learns that this “method” actually refers to about six different major acting techniques and that actors are meant to figure out  which works best for them. There are more than 6 acting techniques I have mentioned below. Learning different techniques looks like an obvious and straightforward approach to the art of acting but let me warn you it can instantly turn into a daunting, confusing, and consuming task.

• However, speaking from a young actor’s point of view, it is not as bad as it may seem. The process of discovering which acting technique suits you best, partly or none can be challenging; but it can also be an amazing opportunity to discover "self"-what's your type, style and your inhibitions which could be extremely rewarding.

• The first thing anyone needs to know is that this “method acting” of which every acting teacher speaks, was originally developed by Konstantin Stanislavsky. Stanislavsky was a Russian actor, director, and mentor who lived from 1863-1938. He was the first man to propose the idea that there was a step by step, calculated process to the art of acting. It is the process of  living truthfully in an imaginary circumstance, as developed by Konstantin Stanislavsky. Through the years , however, this original method has been changed and adapted by practicing actors and teachers and from it has branched the six major techniques. Nonetheless, to understand any technique, you must understand where it originated, and that origin is Stanislavsky’s method.

1. The Stanislavsky System

Much of the Stanislavsky system revolved around the script itself. Stanislavsky believed that by breaking down the script you could further understand the character and the emotional qualities would evolve through this process. He said that-

• The first thing needed to developing a character was to identify the characters super-objective. This is the overall goal that the character wants to achieve.
• The next step would be to identify the obstacles or the things that can prevent the character from achieving his/her goal.
• Third would be to identify the tools or methods used to overcome these obstacles.
• Finally, the script would then typically be broken down into units and bits. These are small objectives and methods used to reach the overall goal; bits make up the units, and the units make up the whole. Lastly, one would define actions for each line. These are identified through action verbs so there is a clear focus on what the goal is line by line.

2. The Chekhov Technique

(Personally, I swear by this technique)

• In our fast-moving film, television, and theater industry, we actors are continually asked for "quick results." 
• We must be emotionally available, learn our lines rapidly, and fill our characters with the objectives and desires of a multilayered human being—all without much preparation time. 
• Now more than ever, the deciding factor in a successful audition or performance is the actor's ability to call upon focused inspiration at a moment's notice. 
• After all, inspiration leads to real, organic, surprising, fresh performances. 
• How is such focused inspiration readily achieved? It was Michael Chekhov's lifelong endeavor to answer this question.

Mikhail Chekhov worked very closely with Stanislavsky at the Moscow Art Theatre. He is considered to be Stanislavsky's greatest pupil, however, his approach to acting is inherently different. I as an actor and an acting coach found it is both extremely rewarding but hard to explain.

The Chekhov Technique revolves around the use of the imagination and the actor’s physical connection to his imagination, his intuition, and mind as one whole, cooperative unit. Perhaps the most important detail in this technique is the use of the imagination. The actor must be able to imagine great images and sensations within himself and his surroundings and be able to immerse himself in these imaginings to perform any of this acting method.

Rather than going into the details, I have summarized his technique in a simple way for everybody to understand. I apologize to all Chekhov experts if they feel I'm diluting what Michael Chekhov, the Great Teacher stood for.

The Technique

A deep and elaborate analysis of a script and the character has to be made by an actor.
To practice and apply Chekhov technique, an actor should have
A well-developed power of imagination
Good emotional sensitivity and an ability to create an imaginary center in the chest, a source which receives and generates physical and emotional responses to external stimuli (situations in life and in a script as the story unfolds)
To identify and aware of an actor's own physical and mental essence, set of his /her physical and emotions actions (archetype) to situations
Learn and practice physical (Body) and Psychological Gesture (Mind-PG) To free your body and mind to be an empty glass. This will help an actor to transform into and adopt a character's physical gesture while exhibiting similar emotional responses as that of a character.
In summary, in Chekhov technique, the actor physicalizes a character’s need (with imagination, felt and generated by the center in the chest) or internal dynamic in the form of an external gesture.

Benefits of Learning Michael Chekhov Technique

The actor's ability to get focused inspiration at a moment's notice for a successful audition or performance . After all, inspiration leads to real, organic, surprising, fresh performances.

3. The Meisner Technique

Sanford Meisner, the founder of the technique, defines acting as "living (or doing) truthfully under imaginary circumstances". A lot of people think of Meisner as 'repetition technique' exercises, but that is only its most basic form. What the technique really stresses is the reality of doing. Emotion, Meisner teachers believe, is brought to the surface through the action. Because acting is, essentially, performing a series of actions, the Meisner technique stresses the importance of putting your all into those actions. Listening and responding truthfully to what your acting partner is saying fall under the category of active doing. To build characters from that place of truthful response. It's listening and listening carefully and responding to doing

4. The Stella Adler Technique

Stella Adler was an actress who studied under Stanislavsky. However, Adler did not believe, like Stanislavsky had, that an actor needed to relive past experiences to connect to the play. She developed her own method in which the major belief was that an actor had to rely on his/her imagination to fully believe in the circumstances of the play. Adler believed that acting is doing and that you must constantly be performing an action and in doing so, find a conflict in this action. Every action done must have justification.

5. The Uta Hagan Method.

Much of Hagan’s approach revolves around specialized exercises to improve behavior in a given circumstance. Another thing we focused on was “the moment before,” in which we would have to identify specifically what happened before the moment the scene began and consider how this would affect us at the start of the present scene. An exercise used to explore this is one known as “Three Entrances” in which a student comes through a door three separate times, each time using a different moment before. After entering through the door the student would only react to that moment before- the moment unseen- and then the exercise would end.
Utah Hagan also used Stanislavsky’s approach to breaking down the script and applied the “as if” technique as well.

6. Viola Spolin

Viola Spolin’s “theater games” approach inspires students to respond immediately and live in the moment. Her technique focuses on self-direction and improvisation, and she’s considered a driving force of improv as we know it in the United States.

The Other techniques, the discussion of which in detail are beyond the scope of this post are:

The Suzuki Method: 
Suzuki is a Japanese movement technique designed within their bodies to portray the characters. The exercises are extremely taxing on the lower body.

The Linklater Technique: 
The focus is on voice, being an important factor in a convincible performance.

The Alexander Technique: 
It is a method that empowers the actor to become aware of the physical habits that impede performance and to transform those habits thus improving breathing coordination and vocal production, facilitating the creation of the physical life of characters with ease and allowing fuller emotional expression.

Okay, so now you know a little bit about the major acting techniques but are you getting confused? How to select the best which suits me?

Recommendations

1. There is no better resource to learn acting than your “Own-self”. Why? Because of The very nature of the art is interactive - not just reading , memorizing, mimicking or copying like in a physics or history class with a large group of students. Then, don't forget, you are unique with no second "You" in the world. So, you need is what suits you best 
2. The acting schools or acting coaches give great material, can be the facilitator to help you learn acting techniques, motivate, initialize response and make you practice
3. Having helped several up and coming young actors I would recommend a video camera to self-tape on a weekly basis. Ask a friend to play casting director, find a variety of scenes from produced scripts online. Practice, practice, practice. Research, research, research your part. Get more and more comfortable in front of a camera. Find someone to give you expert critiques so you can hone your craft. Source

How to develop your own acting style?

Steps:

1. Develop the power of imagination and dreaming
2. Focus on observation and concentration:
-Visit public places like the garden, railway stations, zoo, museums etc and observe  people closely notes their physical profile.  Then create the story on them (their house, family, conflicts ,profession etc). Become a part of the story. Come home and practice
- Play word game- write any 10 words on a piece of paper, close your eyes and put finger on any word. Create a story on that word and deliver and act that story with action in front of a mirror or to a friend
3.  Watch animals or anything and create a story
4. Go on practicing physical and mental exercises you have learned from your acting coach
5. Focus on improvisation (Improv-enacting a scene without any written script) and practice

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