tor. It is primarily through physical gestures that an actor will communicate his psychological state. "The first is the education of the body, the whole physical apparatus, of every muscle and sinew." (Boleslavski, 27) An actor must have control over his instrument, so that it is resonant and open to tiny nuances of emotion. Without this the audience will not understand the intentions or motivations of the actor. Chekhov states that the body must absorb psychological qualities, so that it becomes like a sensitive membrane capable of the most subtle impulses. (Chekhov, To the Actor, 2)The actor must also train his inner technique as well. As already mentioned, it is the function of the body to express the psychological state. Without a fully developed emotional palate to work from, the body is merely posing, and becomes empty clich. Neither technique comes first, rather the external and internal must work hand in hand.There are as many acting philosophies and techniques as there are actors. To choose one method of training is a daunting task for an actor. But if one is truly talented, the technique employed on the stage should complement the actors natural abilities and stimulate him to action. "Training develops talent. It helps the actor get rid of bad habits. It teaches him ways of controlling his talent. It helps him to develop a personal technique. But technique does not enable the actor to act anymore than breath control enables him to breathe." (Strasberg, 130) Technique can only help the actor develop the raw talent that he already possesses.II. Stanislavski and his Followers"The first time Stanislavski appeared on a stagehe was a small child, and managed to burn down the set.This event foreshadowed the very different wayin which he would set the theater on firein his later life."(Brestoff, 18)Stanislavski has been considered the most important figure in the history of acting. (Brestoff, 17) As a young ch...
