A Quote by Annette Bening

All of modern acting comes from Stanislavski, who was the Russian partner to Chekhov. When Chekhov was writing his plays, Stanislavski was running his theater. And Stanislavski really was the first inventor of modern acting and then everything that came out of the method and Stella Adler and the great teachers really came out of him.
I played Lucky in Waiting for Godot at Yale and it was a thing that Stanislavski talks about: he says you don't need his 'method' if you can count on your inspiration and it was a moment of inspiration that came to me, not in rehearsal but on stage. It hit me right there in the middle of the play and it was great - it travelled into immediate communication.
I do the best I can - I know my way around [Russian method acting pioneer] Stanislavski, but I can't take myself seriously like that. I respect people who do it, of course. I just think I'm lucky to still be working at 73. You reach a point in life where you just think, "Show up, do your job, make sure the cheque's on the way," and that's it. I'm not hungry to do anything more, really.
I wouldn't call myself a method actor, but I have my own method. I do my own research. I come up with a background for the character. I'm not a club man. I don't like isms. I've never really studied Stanislavski.
Chekhov directors and Chekhov actors love working on his plays because there seems to be no end to what you can find out about the micro-narrative when you're investigating a text.
I really like the stuff that is very absurd and very real at the same time. I think Anton Chekhov is the greatest comedy writer of all time. I think he would make a great addition to The Office staff. If you look through Chekhov plays there is a lot of awkward pauses in there. His mixture of pathos, absurdity, truthfulness and whimsy is just mixed together perfectly.
It was only when I went to acting school that I was like, "You are absolutely such a pigheaded freak show that you thought you, at the age of 12 or 13, could have a better understanding of Stanislavski. Why did you think that you didn't need to go to school?" It was quite funny. But, I was certainly inspired.
My favorite acting books are Stella Adler's 'The Art of Acting' and 'Sanford Meisner on Acting.'
Accents influence a performance. If you look at Stanislavski, he says work from the in to the out, and I probably overall work the other way. I find an accent and a mood, and that influences the character massively.
Modern acting is method acting, most of it. And there are sort of different schools, so I guess I'm not really from one school or another. I had a number of different teachers but they were all kind of drawing from the same pool, which is - What do you want? What are you doing to get what you want? And, what is in the way? These are basic acting questions. Knowing the answers to those questions. So you're talking about objectives and actions and obstacles. That's a sort of shorthand that gives you a language.
My favorite author is Anton Chekhov, not so much for the plays but for his short stories, and I think he was really my tutor.
My first love was singing. It was the first thing that really felt like it was a part of me. It's just in my blood. And acting came sort of out of singing because I did a lot of musical theater.
"Do you know," Ivan Bunin recalls Anton Chekhov saying to him in 1899, near the end of his too-short life, "for how many years I shall be read? Seven." "Why seven?" Bunin asked. "Well," Chekhov answered, "seven and a half then."
Stanislavski was right, you can find fresh pain every time you discover what you pretty much already know.
I used to put that I studied with Stella Adler on my resume. I never met Stella Adler. But if you told a casting director you studied with Stella Adler all the sudden they'd let you in the door.
I go to see plays all the time, and whenever I see Chekhov, I'm amazed at how this Russian play strikes home to me living 100 years later in New York City. I'm drawn to him because of his way with characters and their relationships with each other.
Chekhov was capable of casually tossing off deplorable comments in his letters, combined with a very modern anger against anti-Semitism.
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