Professor David Peimer
Konstantin Stanislavski, Part 2: Creative Techniques Used by Actors and Directors
Summary
The lecture focuses on the evolution of acting techniques and training methodologies, building upon the foundational ideas introduced by Stanislavski and the Moscow Art Theatre in the late 19th and early 20th centuries. It examines the influence of Stanislavski’s concepts on subsequent acting theorists and practitioners, including Lee Strasberg, Stella Adler, Uta Hagen, Sanford Meisner, and others. The lecture emphasizes how these individuals revolutionized actor training and rehearsal techniques, particularly in New York and London, and how their impact extended globally. Part 2 of 2.
Professor David Peimer
David Peimer is a Professor of Literature, Film and Theatre in the UK. He has worked for the University of the Witwatersrand, Johannesburg, New York University (Global Division) and was a Fulbright Scholar at Columbia University. Born in South Africa, David has won numerous awards for playwriting and directing in New York, UK, Berlin, EU Parliament (Brussels), Athens, Budapest, Zululand and more. He has most recently directed Dame Janet Suzman in his own play, Joanna’s Story, at London Jewish Book Week. He has published widely with books including: Armed Response: Plays from South Africa, the digital book, Theatre in the Camps. He is on the board of the Pinter Centre (London), and has been involved with the Mandela Foundation, Vaclav Havel Foundation and directed a range of plays at Mr Havel’s Prague theatre.
Absolutely. This is why Stella Adler split from Strasberg. That’s also why Stanislavski changed later in life to focus on imagination much more than the “magic if”, or rather than emotional memory.
The reason I showed the Marx brothers is they never read a word of all this or studied any of this. It can lead into an unhealthy dependency if one becomes too addicted. That’s why I wanted to show Strasberg versus Adler.
No, he’s trying to capture Liam Neeson, that Schindler is a wealthy businessman. He belongs to the Nazi party. He’s an opportunist. He’s going to use it to make money. Doesn’t necessarily believe in the ideas of it. That scene is about awakening his conscience to shock, horror, shame, and how shame works to awaken the conscience.