 Classical acting is an umbrella term for a philosophy of acting that integrates the expression of

the body, voice, imagination, personalizing, improvisation, external stimuli, and script analysis. It
is based on the theories and systems of select classical actors and directors
including Konstantin Stanislavski and Michel Saint-Denis.

 In Stanislavski's system, also known as Stanislavski's method, actors draw upon their own
feelings and experiences to convey the "truth" of the character they are portraying. The actor
puts himself or herself in the mindset of the character finding things in common in order to give a
more genuine portrayal of the character.

 Method acting is a range of techniques used to assist acting persons in understanding, relating
to and the portrayal of their character(s), as formulated by Lee Strasberg. Strasberg's method is
based upon the idea that in order to develop an emotional and cognitive understanding of their
roles, actors should use their own experiences to identify personally with their characters. It is
based on aspects of Stanislavski's system. Other acting techniques are also based on
Stanislavski's ideas, such as those of Stella Adler and Sanford Meisner, but these are not
considered "method acting".[1]

 Michael Chekhov developed an acting technique, a ‘psycho-physical approach’, in which

transformation, working with impulse, imagination and inner and outer gesture are central. It
offers clear and practical tools in working with imagination, feelings and atmosphere. This
Creative Individuality allows the artist actor to use parts of themselves that are not just the
smaller meaner more banal elements that make up their daily life, but rather parts of their
unconscious, where dwell more universal and archetypal images. His acting technique has been
used by actors such as Jack Nicholson, Clint Eastwood, Marilyn Monroe, and Yul Brynner.

 Meisner technique requires the actor to focus totally on the other actor as though he or she is
real and they only exist in that moment. This is a method that makes the actors in the scene
seem more authentic to the audience. It is based on the principle that acting finds its expression
in people's response to other people and circumstances. It is based on Stanislavski's system.

 Practical Aesthetics is an acting technique originally conceived by David Mamet and William H.
Macy, based on the teachings of Stanislavski, Sanford Meisner, and
the Stoic philosopher Epictetus.[2] Some key features of the method include a particular method
of script analysis, adaptability, and repetition exercises similar to those in Meisner technique.[3]

 In the Brechtian Method, Bertolt Brecht developed an "epic drama" style that relies on the
audience's reflective detachment rather than emotional involvement.[4]

Classical acting is a type of acting that is based on the theories and systems of select classical
actors including Konstantin Stanislavski and Michel Saint-Denis, including the expression of the
body, voice, imagination, personalizing, improvisation, external stimuli, and script analysis.

Stanislavski's system is a systematic approach to training actors that the Russian theatre
practitioner Konstantin Stanislavski developed in the first half of the Twentieth-century. His system
cultivates what he calls the "art of experiencing" (with which he contrasts the "art of
representation").[2] It mobilises the actor's conscious thought and will in order to activate other, less-
controllable psychological processes—such as emotional experience and subconscious behaviour—
sympathetically and indirectly.[3] In rehearsal, the actor searches for inner motives to justify action
and the definition of what the character seeks to achieve at any given moment (a "task").[4]
Method acting is a range of training and rehearsal techniques that seek to encourage sincere and
emotionally expressive performances, as formulated by a number of different theatre practitioners.
These techniques are built on Stanislavski's system, developed by the Russian actor and
director Konstantin Stanislavski and captured in his books An Actor Prepares, Building a Character,
and Creating a Role.[2]
Among those who have contributed to the development of the Method, three teachers are
associated with "having set the standard of its success", each emphasizing different aspects of the
approach: Lee Strasberg (the psychological aspects), Stella Adler (the sociological aspects),
and Sanford Meisner (the behavioral aspects).[3] The approach was first developed when they
worked together at the Group Theatre in New York.[2] All three subsequently claimed to be the rightful
heirs of Stanislavski's approach.
The Meisner technique is an approach to acting which was developed by the American theatre
practitioner Sanford Meisner.[1]
The focus of the Meisner approach is for the actor to "get out of their head", such that the actor is
behaving instinctively to the surrounding environment. To this end, some exercises for the Meisner
technique are rooted in repetition so that the words are deemed insignificant compared to the
underlying emotion. In the Meisner technique, there is a greater focus on the other actor as opposed
to one's internal thoughts or feelings associated to the character. The Meisner technique is often
confused with "method" acting taught by Lee Strasberg, since both developed from the early
teachings of Konstantin Stanislavski.

Practical Aesthetics is based on the practice of breaking down a scene using a four-step analysis
that entails the following:
1) The "Literal": The essential and most basic, uninterpretive, description of what is taking place.
'What is Literally happening for your character within the scene?'. For example; 'My character is
literally proposing marriage to their partner of 6 months'
2) The "Want": What does one character ultimately want the other character to say or do. "What
does my character want from the other person within the scene?". For example; 'I want the other
character to accept my marriage proposal"
3) The "Essential Action": A universal human desire that relates to the specific and essential
nature of what your character wants within the scene. In this step, you must distill the given
circumstances and the actions of your character, given to you by the playwright, to a universal
human desire that underlies the text. For example; if your 'Want' is "I want the other character to
accept my marriage proposal" the 'Universal Human Desire' or 'Essential Action' underlying that
specific 'Want' could be 'To get my soulmate to take a brave step'.
4) The "As If": This relates the "essential action" to the actor's own life. (Often the most difficult step
of Analysis)
For example: "Essential Action" – To retrieve what is rightfully mine. "As If" – It's as if my girlfriend
has taken away my favorite album that I was going to give as a gift. I need to retrieve it because it is
mine.
Unlike other acting techniques, this step is NOT a memory device. In Practical Aesthetics actors are
taught that using the memory of past experiences hinders the truth of the moment within a scene
because you already know how that memory ends, there is a resolution inherently tied to that
memory. Therefore if you choose to use memory to replicate an emotional response within the
scene, you have to ignore the resolution or pretend as if it has not occurred, you are playing a
'double fiction'. Firstly you are playing the fiction of the scene and secondly, you are acting as if you
don't know the outcome of the memory you are drawing an emotional response from.
Therefore the Practical Aesthetic 'As If' is something that could feasibly happen in your life, that has
not yet happened, that produces a galvanized response within you; a spark to involve the actor in
the scene. It helps the actor escape the fiction, find the truth, and apply it elsewhere.
This technique is aimed at making the experience of acting entirely based on the will of the actor. It
is in response to "The Method, " which some believe uses more introverted and self-based practices.
The Practical Aesthetic asks an actor only to commit his will to the pursuit of an action based on the
other actor.

Deciding to study acting takes a great deal of commitment and openness. To truly excel in a
program and make the most of one’s time, you must be willing to push yourself outside your
comfort zone and be open to exploring different acting techniques to deliver the best
performance.

You may be aware that there are many different methods you can employ when studying
acting. There is no universal or singular technique that all actors utilize. It truly depends on
the individual and what style works best for them.

Let’s take a look at some of the most popular methods:

Meisner Technique
The Meisner Technique is based around the concept of “truthful acting.” Sanford Meisner,
who pioneered this method, encouraged his students to live truthfully under any given
imaginary circumstance. The approach to this training is having the actor act on their
emotional impulses – essentially, leading with their heart as opposed to their brain.

Stanislavski’s System
The Stanislavsky method requires that an actor use his emotional memory when
approaching the work. This requires an actor to recall past experiences and memories and
bring them into any given scene or character they are bringing to life. Theoretically, an actor
should ask themselves: “How would I react if this was really happening to me?”

Lee Strasberg’s Method

In this method, actors should intensify their connections to the work by imitating their
character’s experiences within the context of their real lives. By doing this, one should be
able to reach a greater understanding and a richer connection to the emotional states of
their characters.

Atlantic's Practical Aesthetics

This technique is focused on two parts: Act Before You Think and Think Before You Act.
Script Analysis and Performance Technique classes focus on analyzing a script by
understanding the story and given circumstances, and then going through the process of
choosing an action and making specific choices that will create a character.

Actors are taught to focus on what is literally happening in the scene and focus on the
pursuit of an action. Developed by David Mamet and William H. Macy, script analysis
explores what the character is “literally doing,” what the character “wants,” distills this down
to a playable “action,” and finally personalizes the choices through what is called an “as if.”
The second part of the technique is called Moment. Through a course called Moment Lab,
students work on a variety of exercises, including Repetition, designed to overcome self-
consciousness and teach the student to fully put their attention on the other person and act
spontaneously and truthfully based on what they see.

Practical Aesthetics is taught at New York’s Atlantic Acting School, with alumni including
Anna Chlumsky (“Veep”), Gina Rodriguez (“Jane, the Virgin”) , Zach Woods (“Silicon
Valley”), and Simon Helberg (Florence Foster Jenkins). You can also find them on
Acceptd here.

Atlantic is dedicated to telling the story of the play simply and truthfully in line with the
playwright’s intentions. The school is committed to training students in the Practical
Aesthetics Acting Technique, which gives actors simple repeatable skills that can be honed
and used for a lifetime.

Also, this fall Atlantic Theater Company and Atlantic Acting School are pleased to announce
the Practical Aesthetics Scholarship. Two actors will be awarded with a full scholarship to
our Professional Conservatory Program.