A Quote by Mark Margolis
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.
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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.
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.
My favorite acting books are Stella Adler's 'The Art of Acting' and 'Sanford Meisner on Acting.'
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.
Other people’s words are so important. And then without warning they stop being important, along with all those words of yours that their words prompted you to write. Much of the excitement of a new novel lies in the repudiation of the one written before. Other people’s words are the bridge you use to cross from where you were to wherever you’re going.
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 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.
I think the most note-worthy part is that Stella [Mozgawa] had joined the band two weeks before we started recording, so that really influenced the way that the album was recorded. It was really important for Stella and Jen[ny Lee Lindberg] to lay down the drums and bass first for most songs, because they were determining how they needed to lock in together, and Stella was still kind of learning and figuring out her parts.
The words 'alone,' 'lonely,' and 'loneliness' are three of the most powerful words in the English language. Those words say that we are human; they are like the words hunger and thirst. But they are not words about the body, they are words about the soul.
I have this theory that the more important and intimate the emotion, the fewer words are required to express it. For instance in dating: 'Will you go out with me?' Six words. 'I really care for you.' Five words. 'You matter to me' Four words. 'I love you.' Three words. 'Marry me.' Two words. Well, what's left? What's the one most important and intimate word you can ever say to somebody?
'Goodbye...'
I want you to understand the words. I want you taste the words. I want you to love the words. Because the words are important. But they're only words. You leave them on the paper and you take the thoughts and put them into your mind and then you as an actor recreate them, as if the thoughts had suddenly occurred to you.
Then I heard this genius teacher Stella Adler - I recommend you read anything you might find about her and if you have anyone interested in theatre, you get them one of her books.
Introducing a spelling test to a student by saying, 'Let's see how many words you know,' is different from saying, 'Let's see how many words you know already.' It is only one word, but the already suggests that any words the child knows are ahead of expectation and, most important, that there is nothing permanent about what is known and not known.
You can give words, but you can't take them. And when words are given, that is when they are shared. We remember what that was like. Words so real they were almost tangible. There are conversations you remember, for certain. But more than that, there is the sensation of conversation. You will remember that, even when the precise words begin to blur.
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.
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