<P> Among the concepts and techniques of method acting are substitution, "as if", sense memory, affective memory, and animal work (all of which were first developed by Stanislavski). Contemporary method actors sometimes seek help from psychologists in the development of their roles . </P> <P> In Strasberg's approach, actors make use of experiences from their own lives to bring them closer to the experience of their characters . This technique, which Stanislavski came to call emotion memory (Strasberg tends to use the alternative formulation, "affective memory"), involves the recall of sensations involved in experiences that made a significant emotional impact on the actor . Without faking or forcing, actors allow those sensations to stimulate a response and try not to inhibit themselves . </P> <P> Every afternoon for five weeks during the summer of 1934 in Paris, Stanislavski worked with the American actress Stella Adler, who had sought his assistance with the blocks she had confronted in her performances . Given the emphasis that emotion memory had received in New York, Adler was surprised to find that Stanislavski rejected the technique except as a last resort . Under the influence of Richard Boleslavsky, emotion memory had become a central feature of Strasberg's training at the Group Theatre in New York . In contrast, Stanislavski recommended to Stella Adler an indirect pathway to emotional expression via physical action . In his biography of Stanislavski, Jean Benedetti writes: "It has been suggested that Stanislavski deliberately played down the emotional aspects of acting because the woman in front of him was already over-emotional . The evidence is against this . What Stanislavski told Stella Adler was exactly what he had been telling his actors at home, what indeed he had advocated in his notes for Leonidov in the production plan for Othello ." Stanislavski confirmed this emphasis in his discussions with Harold Clurman in late 1935 . The news that this was Stanislavski's approach would have significant repercussions in the US; Strasberg angrily rejected it and refused to modify his approach . </P> <P> In training, as distinct from rehearsal process, the recall of sensations to provoke emotional experience and the development of a vividly imagined fictional experience remained a central part both of Stanislavski's and the various Method - based approaches that developed out of it . </P>

Of the following which is not an important name in actor training in the united states