Stella Adler On Ibsen

Kyle Samuel
Professor Michael Warner

PAMT 312
2-21-17
Stella Adler on Ibsen
I really enjoyed what Stella Adler had to say about Ibsen. I specifically
liked the way her writing was structured as equal parts historical information
with background on Ibsen and an infusion of her personal instruction for an
actor on how to execute an idea. I found this style of writing to be really
practical and useful. Stella presents an idea in Ibsens writing and then gives
an example to make it relevant and accessible for the actor in todays world.
I found that it was in many of these moments that Stellas voice really came
through in her writing. Her unique voice is stamped all over her writing and it
really gave me some insight into what this woman was like. I found myself
laughing at some of the comments she would make like, I want you to go
home, kneel down, and thank God that he gave us a dining room instead of
poetry (Adler 18) in reference to Ibsen giving up poetry. Another thing I
learned about Stella from this reading is just how intelligent this woman is.
She makes many comments about society and why people do what they do.
To me, it seems as if she looks at the world through a sociological lens. I was
pleasantly surprised by this as I really enjoy sociology and hearing people
talk about it. Not only was Stella very intelligent she was also really
progressive. The year was 1976 and I can only imagine that her views of
society and the world were pretty progressive for the time.
Towards the beginning of the Ibsen reading, Stella presents an idea I
was vaguely familiar with prior to this reading. She says, Interpretation
means that I am going to find that playwright in me. I am not going to do
Ibsen if its Chekhov (Adler 4). Shes basically saying that you can and
should play every playwright differently. I feel like in the past year I was
made aware of this concept but it wasnt really taught as being very
important so I kind of forgot about this idea. After this reading, I absolutely
understand the importance of playing every playwright differently and most
importantly, I feel like I finally understand how to. I now know that I should
be researching the playwright of the show and diving into their life to get
insight into what their world experience has/had been like. In this research it
can be possible to find out why the playwright wrote the play because the
playwright writes in and about their time. All of this information will be useful
in crafting the world of the play I as the actor, have to step into. As Stella
says, You must know the social situation (Adler 26).
One of the huge, lasting impacts Ibsen has made on the theatre is
introducing the element of discussion. As Stella explains, the playwright did
all the thinking for you before Ibsen. The problems in the play were always
settled before the curtain fell and the audience walked away knowing how to
feel. Ibsen presented pieces of theatre based on ideas that could not be
resolved but they could be discussed. This was the first time the audience
walked away possibly not knowing what to think or with audience members
leaving with different takeaways from the show. I really love that Stella says
Ibsen, challenges the spectator to think and discuss and--from the
discussion--to learn who he really is (Adler 9). I love that Stella sees the
discussion as being illuminating about what our beliefs are and how we
watch and interpret theatre. I really agree with that. Speaking from personal
experience the discussion after the show is probably my favorite part of the
theatre-going experience. When I hear why someone feels a certain way
about the ending of a show, or a character, etc., it really gives me a lot of
insight into how they experience theatre.
I found a strong personal connection to the part when Stella started
talking about the different types of people Ibsen defined in society. In Stellas
words, Ibsen felt that, most people are either unaware or actively do not
want to be aware. They just want to be happy (Adler 14). Ibsen describes
this type of person as, The Idealist (a vast majority) hides from the truth
about life and believes in the illusion...people insist on their illusions (Adler
21). The whole part about actively not wanting to be aware is totally me. Im
not oblivious enough to not be aware, which Im thankful for, but sometimes
reality is too hard to face. I think what makes the idealist human is that
believing in the illusion in life is a way of protecting yourself. I know that
sometimes, I have to believe that things will get better and work out in the
end because its too exhausting to live in a state of disappointment.
Disappointment in the fact that the world let you down or things didnt turn
out for the best. I identify as the idealist because Im always hoping for the
best and I do believe that putting out positive energy and making positive
affirmations in the world, brings positive things back to you.
Another personal connection I had was to one of Ibsens thoughts on
actors. Ibsen says, the actor has to have eyes to see the world. He must
take in, suck in life (Adler 77). He further goes on to explain the thorough
detail in which the actor must take in the world around him from everything
to advertisements, the colors around him/her, dirt on the street, cigarettes,
etc. I feel that taking in my surroundings is something I really excel at. Ever
since I was a young kid my mom would always tell me how observant I was. I
always just kind of dismissed that and assumed it was one of those things
that your mom would say about you but nobody else would. It wasnt until
the past few years in college when I started meeting more and more people
and living in close proximity with new people, that I began to see that Im
more observant than a lot of my peers. I am thankful for this gift of
observation because I feel it helps me enjoy all the small things in life but
now I see how this skill can really help me in my acting. As Stella says, I as
the actor have to use myself in a play and bring my experiences to the table.
The more I observe and take in about the places and people around me, the
larger the database of experience Ill have to use when creating a character
and the world of a play.
I really enjoy Stella as a writer and the detailed insight she has on Ibsen and
if this first section is any indication about the rest of the book, Im really
looking forward to hearing what she has to say about Strindberg and
Chekhov.
Work Cited
Adler, Stella. Stella Adler on Ibsen, Strindberg and Chekhov.
Edited by Barry Paris, New York, NY, Vintage Books, 2000.

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Kyle Samuel

Professor Michael Warner

with background on Ibsen and an infusion of her personal instruction for an

actor on how to execute an idea. I found this style of writing to be really

poetry (Adler 18) in reference to Ibsen giving up poetry. Another thing I

pleasantly surprised by this as I really enjoy sociology and hearing people

means that I am going to find that playwright in me. I am not going to do

understand the importance of playing every playwright differently and most

says, You must know the social situation (Adler 26).

introducing the element of discussion. As Stella explains, the playwright did

theatre-going experience. When I hear why someone feels a certain way

about the ending of a show, or a character, etc., it really gives me a lot of

insight into how they experience theatre.

I found a strong personal connection to the part when Stella started

believing in the illusion in life is a way of protecting yourself. I know that

end because its too exhausting to live in a state of disappointment.

affirmations in the world, brings positive things back to you.

Another personal connection I had was to one of Ibsens thoughts on

to advertisements, the colors around him/her, dirt on the street, cigarettes,

more observant than a lot of my peers. I am thankful for this gift of

and the world of a play.

Adler, Stella. Stella Adler on Ibsen, Strindberg and Chekhov.

Edited by Barry Paris, New York, NY, Vintage Books, 2000.

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