Adler Technique Part 2

Adler Technique Part 2

1. Foundation

   • Primary source for acting is ones imagination.
     • The imaginations contatins everything, from art to ideas. Whatever you do, think or feel on stage must be filtered throught imagination.
       • Adlers exercises contaiend three concepts (usually). e.g. Flower exercise.
         • 1) Observe a flower, studying it in minute detail
         • 2) Learn to sequence the details so you can describe them clearly and logically.
         • 3) Then stand infront of the group and "Give it away" so they can vividly see it. Later in the exercise - substitute flower for feeling/ idea/ need.
           • Sometimes imagine a fifth avenue apartment.
             • Where did it come from?
             • How long has it been there?
             • CREATED WITH MINUTE DETAIL !
   • Also embraces the POV that acting is doing
   • Another exercise is paraphrase an essay from Gibrans "The prophet"
     • These essays were about "bIg ideas"; friendship, sorrow and joy.
       • Stella looked for clarity of thought, open voice, economy of words, a relaxed body.

2. Character

   • Stella had a passion for character work and believed that the deeper you dive into other identities, the more you know yourself.
     • One exercsie involved "shopping" for images/objects that remind you of the character type. Then to physicalize the object.
       • e,g, The physicality of a city bus to find ones way into life of a bossy/bullying type.
     • Another exercise: Inside out paths to the character. So choosing a way of thinking, feeling that seems appropriate
       • E.g. Whats does timidity feel like? what does it do? What are its inner movements? When have I expereinced it and why?
     • Another exercise: 5 Archetypes: The aristocracy, the military, the clergy, the middle class and the Peasants.
       • She would use paintings, sculpture, period music and costume e.c.t. as well as various forms of movement like walking, and military marching to build a character

3. Script Interpetation

   • Grew out of her love for plays and playwrights.
   • Directly applies the imagination-orientated Adler approach to sepcific plays
     • She would go through it slowlyand meticulously. Taking into account the historical and social context, its impacts, the ideas of the whole work. Then, scene by scene, using historical reseearch to aid her.