Acting Techniques

The acting techniques I apply originate from the Moscow Art Theatre, via Moscow Art Theatre director, Evgeny Lanskoy, with whom I studied in New York City for several years. Konstantin Stanislavski developed the Stanislavski Method of acting at the Moscow Art Theatre. (Known as the father of modern acting technique, Stanislavski is, to modern acting, who Balanchine is to modern ballet.)

 

Though some of the techniques came to America through Sanford Meisner and Stella Adler in the early 20th century, development continued through the cold war periods; during the latter of which, Moscow Art Theatre director, Evgeny Lanskoy, emigrated to New York and began teaching indispensable models of human behavior for the actor, for the first time in the USA. 

 

I'm pleased to share this important material with dancers, providing the essential techniques needed to create and develop a nuanced character with a backstory within the context of a larger narrative, to access emotions in a healthy, confident and consistent way and to heighten the dramatic moment.

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Dramatic Analysis

My method of dramatic analysis originates from my studies with Stella Adler, an icon of American theatre, at Stella Adler Conservatory in New York City. In particular, her script interpretation method strongly influences my approach. Though highly applicable to story ballet, dramatic analysis is also a necessity in creating effective characters with nuanced movement, and dramatic tension, in any dance style. 

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Movement with Purpose, the Essential Definition

I teach the tools of the actor to dancers using essential acting vocabulary, which is applied to dance movement. Movement with purpose (Action) is the central definition. All techniques (study or invention of the narrative, visualization and other sensory work, imaginative development of character backstory, creation of obstacles, imaginative generation of environment, etc.) serve the goal of empowering the dancer to be in action on the stage in order to illuminate the choreography/performance. 

 

Whether executing movement which has been assigned, or moving improvisationally, dancers experience the process of creating from a consciousness of purpose, not only in mindful execution of narrative, character, emotion, and so on, but in ever-evolving awareness of their purpose as individual artists.

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- Christine Lindgren

 

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