The Method: How the Twentieth Century Learned to Act

by Isaac Butler

Looking at this new world, it can seem that the Method is dead, or perhaps a permanent invalid, wasting away. But as in ancient Greek myths, it has instead turned into a constellation in our night sky, always watching over us, its ideas of truth and art too powerful to shake. Go to many rehearsal halls in America and you’ll see a process divided in equal fourths into work around a table, staging, refining, and tech. The director and actors will talk about beats and structure a scene by its actions, will try to create staging that is informed by the characters and their needs. Visit a scene study class in America and you’ll likely hear the teacher ask the student some variation of “What does your character want? What is in their way? What are you doing to get it?” You’ll see them try to activate the mind, will, and feelings of the actor. You’ll hear them say the words “given circumstances.” You’ll hear actors alternate between the third person and first when discussing their characters. If their bag is open to view, you might see a copy of Uta Hagen’s Respect for Acting there, or Stanislavski’s An Actor Prepares. You’ll hear them talking about being present in the moment, or really listening to their scene partner, or the steps they’re taking to stop indicating so damn much. Open a newspaper—if there are still newspapers where you live—and read the reviews of films. See how they judge a performance by whether it feels true, like a reflection of our lives and souls. You can ...