JOHN STRASBERG
EL PROCESO CREATIVO
Como resumen se puede decir que a lo largo de su vida,
john Srasberg se ha esforzado en investigar el proceso creativo del actor
y aportar soluciones originales a la formación actoral.
Participó en el Actors Studio de New York junto con su padre Lee
Strasberg y otros actores y directores, ahora famosos, como Paul Newman
y Joanne Woodward, Al Pacino, Marilyn Monroe, Dustin Hoffman, Robert DeNiro,
Harvey Keitel y Elia Kazan.
A partir de 1969 fue profesor de interpretación en el Lee Strasberg
Theater Institute
En Nueva York, desde mediados de los 80, co-fundó el Mirror Repertory
Company, dirigió Paradise Lost de Clifford Odets, Inheritors de
Susan Glaspell, Lluvia, Vivat! Vivat! Regina! y Fantasmas de Ibsen, dirigiendo
a artistas como Geraldine Page, a quien había conocido en el Actors'
Studio. También co-dirigió Alicia en el país de las
maravillas en Broadway con Eva LeGallienne.
Tuvo sus propias escuelas en Nueva York y París en los años
80. Además de los John Strasberg Studios y un taller en Montreal,
dirige e imparte clases y conferencias en muchos países: el National
Theater en Londres, el Centro Dramático en Madrid, el Teatro Nacional
de Buenos Aires, el National Film Board de Canadá, y en Italia,
Alemania, Noruega, Perú y en diversas universidades norteamericanas
como Yale, The New York University y The New School.
En 1996 publica su libro sobre interpretación y el proceso creativo,
Accidentalmente a Propósito: reflexiones sobre la vida, la interpretación
y las nueve leyes naturales de la creatividad.
Realiza Seminarios de interpretación y dirección en Nueva
York, Madrid, París y Oslo
Es Invitado como profesor maestro para el Actors Studio en The New School
for Social Research en Nueva York
Su curriculum artístico puede verse en Internet en: http://www.johnstrasbergstudios.org/es/es.php
John Strasberg impartió una clase en el Título
Propio de Teatro y Artes Escénicas, curso 2004-2005. Está
por confirmar si viene o no al curso 2007-2008.
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| John Strasberg con alumnos del Curso 2004-2005 del Título Propio de Teatro y Artes Escénicas | ||
Thank you for expressing an interest in my work. If you want to know more, read my book Accidentally on Purpose: Reflections on Life, Acting, and the Nine Natural Laws of Creativity, published in the USA by Applause Books.
My work, the Organic Creative Process, is based on my perception of the Natural Laws of Creativity. It evolves from where the Method, and other systems, and the great teachers like my father, Lee Strasberg and Stella Adler, left off. This means that the actors' training (or of any artists development) must develop the actors natural, intuitive, Talent, Imagination, Spontaneity, and Intelligence, the world everyone recognized and revered, but that none of them defined. I do. An artist needs all his/her natural capacities developed, while learning to clearly perceive, and become deeply involved in, the imaginary world. Making the invisible world visible, an actor creates and expresses his or her conscious vision of life in his or her art. Because, an artist has something to say about life. I recommend that you see other teachers' work; it will help you understand how different mine is.
When I was growing up, my parents taught me that talent always finds a way to be discovered. But, many successful actors and artists in history were not recognized as being talented when they began. And, many commercially successful actors aren't particularly good or talented. Many people, including talented ones, give up, don't work hard enough, are not discovered, never discover themselves, are made to feel incapable and untalented by a teacher who isn't for them (despite how good either or both of them is); Or, are discouraged because what they learn doesn't develop their talent and their intuitive creative process. What basis and criteria do you, or someone else, use to judge your capabilities, and your potential for success? I believe success is achieved through desire and determination. Talent, being good at what you do, is a personal need, a desire and a choice for excellence. There is no professional standard, or rule, that measures or equates material success with artistic success, or a good creative process.
"There are three great teachers of acting -
Life, Shakespeare, and Yourself"My Organic Creative Process is individual,
and deeply personal, requiring commitment and involvement. All training
is done within scene work. In my experience, the essential thing to teach
is what an actor thinks acting is. Because, actors do what they think
they should do. What do you think about when you go about imagining and
creating another human being, and his or her life? What do you understand
and believe you must do; and what is the way (technique, system, method)
you think about how to actualize it?
"Chaos, doubts, and confusion is normal and signifies the beginning of the creative process"To me, basic technique is knowing yourself, and knowing how to use yourself, so that you can become involved, and focus your imagination, knowledge and experience of life on the characters' world. Developing your presence and becoming deeply involved with the character and the text is the goal. Most acting techniques teach you to use acting methods and exercises. They work, but they teach you to believe that there is a recipe for creating a work of art. They also teach that you are at the service of your technique; rather than that technique serves you, helps you to actualize what you intuitively, and consciously, perceive. I want you to learn real, involved thinking, dreaming and concentration directly on imagining the characters' world, recognizing the human situations, so that you can imagine and actualize the life you want to live. And, I want you thinking like a human being.