A Quote by Krysten Ritter

My favorite acting books are Stella Adler's 'The Art of Acting' and 'Sanford Meisner on Acting.' — © Krysten Ritter
My favorite acting books are Stella Adler's 'The Art of Acting' and 'Sanford Meisner on Acting.'
I went to acting school in New York City for two years. I studied with Stella Adler.
I went to acting school in New York City for two years. I studied with Stella Adler
You reminded me of a quote that my acting teacher Stella Adler wrote in her book ['The Art of Acting'], which I asked her to sign: "The young actor feels some greatness inside themselves that they want to give back to the world." That resonated with me, but I didn't really understand what she was talking about until much later, in the way you surmised that my struggle to become an actor was from being this kind of introverted young boy.
I went to theater school, and if I spent time with one school of thought in this whole acting game, it's the Meisner approach of improvise-based acting. This does not mean that you improvise your acting, but that you focus on the other person.
When I was 15, 16, I studied with Stella Adler at the Conservatory of Acting, then I stopped again and went to the Actors Studio when I was 18.
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.
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 was a student of Stella Adler and then later Lee Strasberg, and they were into sensory work. At its best, acting is not about words - even when the words are important.
Of course, in later years, I'd studied acting more than ever before - mostly with the late Stella Adler, who was marvelous! - but in my earlier years, I couldn't afford to do this.
One of the great books I read was by Sanford Meissner on acting. I found that really helpful for me as an actress.
I am constantly asked, 'What's the difference between acting in the theater and acting in film?' The only answer I can give is the space - you adapt to the space. But acting is acting.
The thing about acting that's unlike any other art form is that it's collaborative; directing and acting are a collaboration, and your acting won't succeed if the lighting design doesn't succeed or sets don't succeed.
I wasn't really driven to be an actor or anything, but in college I decided to study acting, much to my parents' disappointment. I attended Mason Gross School of the Arts at Rutgers where Bill Esper was, and that is where I really got hooked on the art of acting, and, almost, the chemistry of acting.
I've always remembered something Sanford Meisner, my acting teacher, told us. When you create a character, it's like making a chair, except instead of making someting out of wood, you make it out of yourself. That's the actor's craft - using yourself to create a character.
Broadly speaking, there are two kinds of acting: character acting and lead acting. And in my life, to begin with, in the 1980s, it was all character acting. And then when, by fluke, through 'Four Weddings', I got into doing lead parts, it's a completely different thing.
She didn't need to go to acting school to learn that the essence of acting is to act like you're not acting.
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