Strasberg, the most famous and financially successful teacher of our day, helped some people — Al Pacino and Ellen Burstyn swear by him. Other, equally excellent actors abominate him. Stella Adler, a spirited and flamboyant teacher who emphasizes characterization and role interpretation rather than emotional recall, came to her class the morning after Lee died and ordered them all to stand. "A man of the theatre died last night," she announced. For one minute, the members of her group, a large one, stood, some with heads bowed, all silent. Then Miss Adler ordered them to sit and said, "It will take a hundred years before the harm that man has done to the art of acting can be corrected." ... I think she might finally admit, with some nudging, that she learned a great deal from Lee in the Groups first years. I can speak for myself; despite the negative impressions I formed more recently, I owe Lee a great deal and owe to the movement Harold and he started, the Group Theatre, everything. Because I was an actor — and could not possibly have been one without their help or outside their theatre — Ive learned never to be afraid of actors, so Ive never treated them, when I was making films, as counters in a game to be moved about as I pleased. Ive never wished them struck dumb, always opened myself to their imaginations and benefited by their suggestions. Ive been able to remain undisturbed by the questioning that other directors resent...No one who came out of the Group and now teaches does it precisely the same way or with the same emphasis. Sanford Meisner, Robert Lewis, Stella Adler, and Paul Mann have all helped actors become artists...But they are each extremely individual in their work and Ive heard all four scorned by their own kind.
Elia Kazan, A Life.
Acting teachers tend to disparage each others methods...But despite that, the teachers Ive mentioned make the same basic emphasis, which is fundamental: Experience on the stage must be actual, not suggested by external imitation; the actor must be going through what the character hes playing is going through; the emotion must be real, not pretended; it must be happening, not indicated...To indicate is the cardinal sin in acting. Yet even this is open to question. Some great actors imitate the outside and work in from there. Laurence Olivier, for one. Larry needs to know first of all how the person hes to play walks, stands, sits, dresses; he has to hear in his memorys ear the voice of the man whom hes going to imitate. I lived across the street from him at the time I was directing his wife, Vivien Leigh, in the film of A Streetcar Named Desire, and would often drop over to see him. Larry was working with Willy Wyler on Sister Carrie and, as ever, concentrating on what might seem to us to be insignificant aspects of his characterization. I remember pausing outside a window late one Sunday morning and, undetected, watching Larry go through the pantomime of offering a visitor a chair. Hed try it this way, then that, looking at the guest, then at the chair, doing it with a hosts flourish, doing it with a graceless gesture, then thrusting it brusquely forward...always seeking the most revealing way to do what would be a quickly passing bit of stage business for any other actor...Which way is better? As in all art, both. There is content and there is form. The artistry is in the passion; it is equally in the way the passion is expressed. Perhaps the problem we have to deal with is how to create an expressive form within which the spontaneous life, the one that yields the unexpected, the dazzling surprise, is free to work. The greatest actors are known for giving the same performance a little differently each nightbut it is the same performance in all essentials. Both techniques are important: turning your emotional resources on and off, this way and that, while at the same time directing the cunning of your body to the most telling external behavior.
— Elia Kazan, A Life
My dear boy, why don't you just try acting?
I always say about people doing Method acting, you only ever see people doing Method when theyre playing an asshole. You never see someone just being lovely to everyone going, "Im really deep in character."