Russian Theatre & Stanislavsky's Project (3:21)
Truth & Realism in Acting (1:29)
Introduction of Stanislavsky in U.S. (1:49)
Strasberg's Interpretation (1:16)
Adler's Interpretation (2:25)
Chasm Between Strasberg & Adler (0:47)
Meisner's Interpretation (0:39)
Diversification of Stanislavsky's Teachings (0:47)
Continued Research in Acting (1:45)
Purpose of Soviet Acting Models (3:15)
Two-Part Model of an Action (2:04)
Examining Movement with Purpose (3:04)
Two-Part Action Model in Practice (3:21)
Functions of Two-Part Action Model (0:54)
Properties of Light Weight (2:37)
Properties of Heavy Weight (2:45)
Properties of Equal Weight (1:24)
Applications of the Weight Model (2:20)
Attention Model of Acting (0:58)
Review of Two-Part Action Model (1:32)
First Circle of Attention (2:06)
Second Circle of Attention (2:04)
Third Circle of Attention (4:33)
Fourth Circle of Attention (2:12)
Moving Through the Circles of Attention (3:58)
Testing the Attention Model (0:53)
Introduction to Three-Part Model of Action (1:53)
When a Character Receives New Information (0:37)
Physicalizing a Reaction (3:13)
Part II: Movement in Relation to New Information (4:28)
Part III: Influencing the New Information (2:13)
Exploring the Three-Part Model of an Action (2:34)
Using Models & Observing Physical Reactions (1:52)
What Makes an Actor a Professional? (2:28)
Actor's Working Material (2:45)
Writer's Working Material (3:34)
Director's Working Material (2:00)
Imparting Emotion on Audience (2:24)
Conveying Emotion Through Action (3:11)
Emotion as Byproduct (1:10)
What Makes Us Laugh? (2:34)
Creating Emotion Through Conflict (1:28)
Addition of Truth Model (4:00)
Balancing Multiple Acting Models (2:33)
Relevance of Actors in Digital Age (1:07)
Using the Script & One's Own Environment (2:45)
Teacup Poodle Acting Model (2:15)
Stella Adler on Teaching Women (1:01)
Stella Adler on Actors Playing Hamlet (1:47)