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A method of expression that divided the body into three parts—the head, torso, and limbs—to convey emotional and character states through systematic movements.

A collection of exercises designed to promote spontaneity and creativity, reinforcing the concept of play in performance.

An acting theory focusing on personal presence and energy, positioning the actor, speaker, or performer in a state of authentic, communicative interaction.

Created by David Mamet and William H. Macy, this technique is a pragmatic approach that emphasizes script analysis and finding the simplest, most honest action to play in each moment.

A method to describe and interpret human movement, used in acting to help discover character physicality and emotional states.

A process of psychophysical reeducation that teaches actors to release unwanted tension and achieve a state of balanced alignment and effortless movement.

The first of Stanislavski's books on acting, detailing his early methods and training processes, including relaxation, concentration, and imagination in performance.

Jerzy Grotowski's method strips away everything except the actor-audience relationship, emphasizing the physical and vocal discipline of the actor.

Developed by Lee Strasberg, this technique focuses on actors creating genuine emotional experiences by drawing from their own real-life emotions.

Developed by Stella Adler, this technique focuses on the actor's imagination in addition to emotional recall, suggesting that the actor must create a world for the character to exist in.

A method for realistic acting that encourages actors to realistically portray their characters by connecting with their own feelings and experiences.

Michael Chekhov developed this approach, which uses strong physical actions and imagination to find the psychological truth of the character.

Developed by Tadashi Suzuki, this method cultivates the actor's inner physical strength, focusing on control, discipline, and an energy-centered approach.

A postmodern performance training technique exploring time and space, with emphasis on movement and ensemble work, developed by Anne Bogart and Tina Landau.

An Italian renaissance acting form that was characterized by its use of stock characters, improvisation, physical comedy, and masks.

A participatory form of theatre that seeks to transform audiences into active participants with the goal of societal change.

A technique that helps actors discover the character through the identification of physical and psychological needs and the execution of practical, doable actions.

This approach to theatre encourages audiences to remain detached and critically engaged through a variety of techniques that remind them they are watching a play, like breaking the fourth wall.

A method of theatre-making where emphasis is placed on creating a composition of elements in time and space, often used in devising new works.

An approach that seeks to eliminate the subjectivity and psychological aspects of performance, focusing on precise, non-expressive physical actions.

An American acting ensemble that focused on a strong sense of ensemble and the shared experience of actors, leading to naturalistic performances rooted in the American experience.

A systematic approach to liberating the natural voice and connecting language to emotion, therefore allowing actors to express themselves freely and vividly.

Part of Uta Hagen's acting technique, these steps are a series of questions actors ask themselves to fully understand and identify with their characters.

Created by Sanford Meisner, this approach emphasizes spontaneous reactions and responding authentically to the present, external stimuli rather than the actor's internal thoughts.