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Canadian Actor who became a star on screen and stage. Incredibly complex and charming, a legend not just for his longevity but for his range and ability to be a master of his craft.
https://www.youtube.com/watch?v=ReA3rzdS5qQ

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Christopher Plummer on method vs. classical acting (Part 14 of 44)

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Christopher Plummer on the hilarious relationship between Method Acting ( Stanislavski ) and Classical Acting as they came to coexist in the 1930-50s.

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Behind the actor comes the teacher. Stella Adler's reputation as an acting coach was second to none refining and defining the craft. Her methods and practices are now common within American colleges and training institutes.
https://www.youtube.com/watch?v=5HS7VKyz2g0

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Stella Adler and the Actor (1969) [22-minute Rare Clip]

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One of the greatest British Actors of his generation. A theatre and screen actor, critically acclaimed, award winning, one of the UK's best.
https://www.youtube.com/watch?v=KU_mm6Rkr5k

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Adrian Lester on Diversity, Theatre, Saving the arts, freelance life and more - Interview

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Singer-Actor-Star
Lena Horne
A legend who literally changed the way in which actors of color were perceived by the Hollywood film industry.
https://www.youtube.com/watch?v=4rDh4LqGujg

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Mr Washington will be recognized and perhaps considered as one of, if not the finest screen actors of the last 100 years. His performance as Steven Biko remains one of my favorite performances of all time.
https://www.youtube.com/watch?v=d4Ku1696nqc

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Denzel Washington Reflects on Growing Up, His Family, and Choosing to be an Actor | AFI 2019 | TNT

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Elements to Consider:
TENETS OF ACTING

CONFLICT

Conflict can be developed in multiple ways throughout a scene and through an entire production. We have the very literal definition in performance such as stage combat, and/or characters in heated exchanges. We can also have more subtle and nuanced modes of conflict. For example, a character deciding on the purpose of living, such as can be found in Hamlet’s ‘To be or not to be’. Conflict through a crisis of conscious. Conflict is essential not just in the storytelling but for actors in defining their characters behavior and purpose.

INTENTION

An intention defines a character’s ‘want’ or the active pursuit for the character’s objective. Such as Romeo in pursuit of Juliet’s kiss, or Tybalt’s desire to kill the Montagu. It’s important for the actor to be aware of their character’s intentions, and that multiple intentions can be explored through a play.

REVEAL

Often characters reveal something in a scene, either through text or their behavior. Sometimes the information is revealed to another character in the scene or it can be solely for the audience. To understand what you are revealing will inform character decisions and their journey as a whole.

DISCLOSE

Disclose is a bit like ‘reveal’ though it’s important to think about what is a conscious character decision and what is ‘accidental’. In both cases the actor must be aware of what is being disclosed and for what purpose.

DISCOVERY

Often a character will ‘discover’ on stage or on film, often this informs the ‘reaction’ rather than the ‘action’. Sometimes these moments can be singular or as part of a group. How this affects the actor’s choices can be incredibly helpful in shaping their performance. For example, Hamlet ‘discovering’ that his father has returned as a ghost and then being informed from the apparition that his uncle is the killer.

ACTION

Action often describes not just the physical, but emotional and intellectual aspect of character’s intention. For example a character coming into a scene often comes on with the action of intention for their super objective.

REACTION

Arguably the key to all ‘acting’ is the need to react. Action through reaction. An example, Romeo enters the garden of the Capulets as he tries to leave the party and avoid his drunken friends. The light from Juliet’s balcony causes him to pause and the sight of Juliet changes his entire reason for being in the garden and in life. He reacts to the sight of Juliet, her words, her replies, all of it, a reaction.

STAKES

We must always consider what's at stake in a moment, a scene, Act, or entire play. We need to know what the character is not willing to lose and what they might be willing to lose. eg: Romeo is willing to forget Rosaline when he sees Juliet, but is not willing to forget Juliet when he is exiled to Mantua.

MOMENT

The actor must play his, her or their character in the 'moment' they can't be focused on what will happen in the future, there is no point playing the end of the scene at the beginning. Romeo jumps into Juliet's Garden, hiding from both his friends and the Capulets. The actor playing that role must first consider those risks before spying Juliet on the balcony.

INFORM

An actor is always with his text informing a scene partner or audience some new piece of information. Even the act of how they inform can tell us so much. It's also to register any new information that will be picked up. How does that affect the character?

LISTEN

You have to listen and react to whatever you are hearing.

THOUGHT

Play the thought as you say the line. Every line is a thought-banal or imperative-often the thought provokes an emotional response and then onto the next thought, next line.

PHYSICAL - EMOTIONAL

We have to decide whether the reaction is emotional-physical or intellectual. A flinch- a cry- a witty response.

INTELLECTUAL

For an actor it's not about being the smartest person on stage, but definitely one who can weigh up all the options open in their ability to study for character and how to breakdown the scene. We all have it, no matter our academic ability.