Methode

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Methode

My work is based on the tradition of the Drama Centre in London. The Drama Centre brought the “method” of Stanislavsky and his successors Strasberg, Meisner, Hagen and Adler to England and combined it with the unique technique of Movement Psychology. It is the power of this combination that changed the landscape of English theatre and film and laid the foundation for careers of Anthony Hopkins, Sean Connery, Pierce Brosnan, Colin Firth, Anne- Marie Duff, Michael Fassbender, Russell Brand, Tom Hardy etc.

Three key aspects lie at the heart of method:

Truth

be yourself – work on the instrument
The basic idea of method acting is “to stop acting”. Make your own truth visible through the character. If the actor believes in himself the public will. Exercises by Strasberg, Meisner, Hagen, Batson etc. will lead to more openness and presence.

Analysis

know what you need to create – work on the text
The actor serves the text. Those who understand fully the position of their character in the entire structure of the piece (i:e: what is the play about and why is my character in it?) will be in a position to make clear decisions more readily. Rehearsals become simpler, more precise and hopefully more fun. Clarity is a potent antidote against nervousness and blockages. An actor’s capacity to analyse a text is different from any other reading technique and will develop – in the same way as an instrument – during the course of constant training and mutual exchange.

Transformation

become one with the character
What do I have in common with my character? What distinguishes me from my character? – it is the differences between an actor and the character that require close attention. How can an actor change physically and energetically so that another human being becomes apparent through his body? Classical method exercises, such as Uta Hagen’s object exercise, help in this process. But above all the powerful tools and understanding provided by movement psychology.

I had the great opportunity of learning from incredible teachers. Reuven Adiv, who had been Lee Strasberg's long time assistant, taught me what truth was and what it could produce – both in the actor and the audience. And I believe it is true if I say that it was from Christopher Fettes that I learnt to read. Before, I thought I was quite good at it – until I heard, the now 82 year old, speak just five lines of Shakespeare.