language, and others claim to be anti- method. Based on the review of the available data, the writer concludes that an acting technique is absolutely essential for the actors continued growth as an artist; and that no one particular method is the best or holds all the answers. It is the responsibility of each actor to examine the techniques, and make informed decisions, in order to better his performance.The following limitations are noted:I. Because many of the examples and exercises given by the authors are physical gestures demonstrated in front of a class, the reader must infer the exact nuance of each example. Some misunderstanding may occur due to a lack of visual demonstration.II. The subject is inherently subjective and prone to each authors bias. II. Definition of TermsThe A- effect: The alienation effect produced by a certain acting technique designed by Bertolt Brecht. Brecht wanted to distance both the audience and the actors from all emotional elements of a play, so that its unique and particular qualities would be realized.Acting technique: The process by which an actor trains his various abilities- physical, emotional, and intellectual awareness to be combined in performance.Affective Memory: A controversial technique developed by Stanislavski and emphasized by Strasberg . Actors were to use their own personal past experiences to stimulate certain emotions during performance. Many actors have refused to use this claiming that it takes them out of the circumstances of the actual play. Atmosphere: The realm of feelings , or "heart- beat", that encompasses a performance. It is the "mood" that surrounds the actors, without being created by any particular actor. Michael Chekhov uses this concept as a major component of his acting philosophy.Characterization: One of the elements of an acting technique that involves exploring and making decisions about the specific attributes of a dramatic character.Clich...
