A key choice an actor has to make is the ‘objective’ they will pursue in a scene. It’s the thread that holds the scene together and secures the scenes position in the play.   In this area, Constantin Stanislavski’s theory is BRILLIANT but his execution is totally inadequate. (Read the blog)

Stanislavski, Strasberg, Adler, Meisner, HagenA lot of great directors, actors and teachers have tried to build on the fabulous foundations that Stanislavski provided but none have succeeded. Reading through the literature they’ve left behind reveals …

  • LEE STRASBERG intensely explored emotion memory but he DIDN’T TOUCH the issue of finding a place in a scene or the play (Read the blog)
  • STELLA ADLER didn’t like the Lee Strasberg perspective. She explored ‘conversation’ and ‘actions’ but there’s NO CLARITY on how to find a place in the scene or the play. (Read the blog)
  • SANFORD MEISNER doesn’t like the Strasberg approach either. His focus is on responding with truthful, lifelike impulses BUT there’s no functional reference to controlling the scene or the story. (Read the blog)
  • UTA HAGEN follows her own commonsense interpretation. Like Stanislavski she is working on productive concepts but without PRACTICAL OUTCOMES on how to define a path through a scene. She also has productive concepts about finding a path through the play BUT NO SPECIFIC TECHNIQUES. (Read the blog)


“DELIVERING THE STORY” is a workshop that expands the theory of STANISLAVSKI and UTA HAGEN so that YOU CAN USE IT. It is clear, practical and uniquely productive.

Starts SUNDAY 10th APRIL
4 Sunday afternoons (2pm – 6pm)
For details      To enrol


Acting Theory to A NEW LEVEL                                        Acting Practice that MAKES SENSE

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