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The History of the Method
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"The best method of teaching is that which, from the start, offers the pupil a problem that neither his memory nor his instinct for imitation can help him solve it."
The method presented on our site—through books, articles, and video classes—is relatively new to American theater education. Its roots, however, reach back to the 19th-century experiments of François Delsarte and Émile Jaques-Dalcroze. Working independently, these two innovators—Delsarte, a French teacher of singing and declamation, and Jaques-Dalcroze, a Swiss musician—advanced the idea that professional actors require systematic training in movement and rhythm.
For nearly half a century, Jaques-Dalcroze’s method, known as Eurhythmics, gained wide recognition in Europe and the United States. He foresaw theater’s evolution toward unprecedented artistic heights, predicting that it would “lead to the call for psycho-physical training based on natural rhythms, guided by the collective will—working, perhaps subconsciously—and filling an increasingly important role in civilized life.”
Later, the great Russian actor, director, and educator Konstantin Stanislavsky developed his System for training well-rounded actors, incorporating and expanding upon the discoveries of Delsarte and Jaques-Dalcroze regarding the actor’s expressive body. In schools and studios working within the Stanislavsky tradition, movement-based exercises inspired by these pioneers became essential. Nevertheless, there was still no formal discipline known as “Stage Movement.”
In the 20th century, this gap was addressed by two Russian pedagogues: I. S. Ivanov in Moscow and Ivan Kokh in Leningrad. Drawing on decades of experience in actor training—including Stanislavsky’s recommendations—each produced a foundational textbook. Ivanov’s Education of the Actor’s Movement primarily presented a structured collection of exercises, while Kokh’s The Basics of Stage Movement combined practical exercises with pedagogical theory and methodology. Kokh’s integrated approach proved especially influential, benefiting generations of acting students.
Edward Rozinsky studied and worked closely with Ivan Kokh for many years, further developing these principles, particularly in the area of mime. After relocating to the United States, he adapted the method for American students by revising musical selections, texts, and songs used in training, aligning them with local aesthetics and cultural values. Through this process, Prof. Rozinsky established a coherent and scientifically grounded approach known as Essential Stage Movement.
Having taught Essential Stage Movement in the United States for more than 40 years, Mr. Rozinsky has consistently confirmed its effectiveness with American students. Its flexibility and cultural adaptability also make it a valuable tool for actors worldwide. The method integrates contemporary concepts of human psychology while drawing on the accumulated expertise of leading theater educators of the past century.
The textbooks Essential Stage Movement, Essential Stage Fencing, and the Virtual Instructor Course represent only part of the overall training system. Other components—including Period Movement, Stage Falls, and Stage Unarmed Combat—are equally essential. Prof. Rozinsky also envisions the development of a Mime Technique course as an additional branch of stylized movement, comparable in function to Dance for the Actor.