From Pantomime to Method: Remarks on the Evolution of Film Actor’s Acting Technique

Piotr Skrzypczak

Abstract

Skrzypczak examines theories on film acting, which include three categories of issues: face (close-up of physiognomy), instrument (body kinetics), recording (editing). The pantomime style of acting is typical for the early stages of the cinema. It was modified by Griffith who called for an economical use of means of expression. Lev Kuleshov in Russia called for the use of actor’s body and face as physical objects. Eisenstein was searching specific human types. Pudovkin, who initially treated actors as “material” for director’s work, later shifted emphasis on actor’s individuality and the principle of living the part (a reference to Stanislawski’s system), although he stressed the difference between film and theatre acting. Germany’s anti-naturalistic film expressionism was a breakthrough (Paul Kornfeld’s films), with the importance of gestures and facial expression, make-up and costume, growing visibly. Stanislawski’s system was taken to the United States and transformed at the Actors’ Studio by the Strasbergs (analytical rehearsals, physical exercises, self-discipline, controlled identification with roles). Contemporary acting theories are based on the difference between theatre and film styles, on precision and a perfect control of body and voice.