A popular Italian comedy, "Troupes of the commedia dell'arte" was very popular throughout Europe in the early 1600s. They would work on makeshift stages and without scripts.

1. Rise of Acting Techniques - Acting
Lessons by Child Actor LA
A popular Italian comedy, "Troupes of the commedia dell'arte" was very
popular throughout Europe in the early 1600s. They would work on
makeshift stages and without scripts. These companies, which included
women actor's spread a new wave between the actor's and audiences.
Actor's improvised their own words and comic actions using a basic plot
and character types, which created theatrical creativity and would
capture the interest of the audience as a whole group. This was so unlike
the opera or literary theater, where the emphasis from the audience
concentrated on a playwright's speeches or individual. Scenic displays
and literary concepts were not common, thus inspiring the art of acting.
Theatergoers in England by the beginning of the 17th century learned
how to distinguish Hamlet by actor-manager, Thomas Betterton. This
was accomplished by other productions of Shakespeare's plays. Using
different staging of familiar and classical plays sharpened spectator's
senses. Good acoustics were designed into theater halls to help
performers to be heard differently and to have more subtle and natural
reflections. Visual details of a performance were easily perceived and
critiqued with the introduction of indoor stage lighting. Individual
actor's faces and hands were then displayed by the indoor stage lighting.

2. Charles Macklin and his student David Garrick became one of the first
modern actors on the British stage in the 18th century. Commedia-like
farces and pantomime was Charles Macklin's background and why he
was hired, based his character Shylock (a Jewish businessman in
Shakespeare's "The Merchant of Venice") on Jews in London. Lifelike
details of movement and speech were added to written text. These details
might not have been noticed 50 years earlier if not for the stage lighting,
acoustic changes and other technologies.
Under better lighting conditions and more plausibility, David Garrick
continued natural acting. Mimicry was brought to the stage through
Garrick's practices of imitating facial expressions of actual people. In his
performance of Shakespeare's King Lear, Garrick used a crazed neighbor
to reenact the accidental killing of his infant daughter. Garrick never
dropped his character during a performance and he would listen and
react in character to all the dialogue around him. Because of this, he was
very popular with theatergoers.
Denis Diderot, an 18th century French encyclopedist, became fascinated
with Garrick who was on tour in Paris. The actor feeling less emotion is
what Diderot believed could achieve a more consistent and stronger
performance.
Diderot's essay "Le paradoxe sur le comedien" (1773; translated as "The
Paradox of the Actor, "1883), compared to famous rivals who performed
at the Comedie Francaise, Marie-Francoise Dumesnil and Hippolyte
Clairon.
Dumesnil believed it was an actor's responsibility to become the
character and represented the so-called emotional school. She was very
uneven as an actor and normally coasted through a performance until a
tragic point was reached. She had emotional depth and tremendous

3. power. She made claims she new the secrets of great acting. To find out
who she was as a character, where she was and what she had done,
Dumesnil would use prayer. Alcohol stimulation was unfortunately a big
part of her inspiration.
Clarion claimed she created her characters through movement and
speech and not from becoming them or playing them. By rehearsing
endlessly and perfecting the "look of emotions, she was able to develop a
natural and reliable character. She believed audiences applauded the
actor, not the characters.
By these two actors' comparison's, Diderot uncovered polarities of
inspiration and technique.
Problems of inspiration and expressiveness were not solved for other
actors, however. For example, any schools or treatises that were left
behind seemed to be more philosophical than technical. Actually with
Garrick's natural school of acting disappeared after his death. It was
more of a fad with British audiences that was associated with the actor.
Basically, Garrick and the rest couldn't teach their techniques.
In the 19th century emotional and anti-emotional acting styles of the
great actors ran in cycles. Actor's of one generation championed the first
technique and then was replaced by a younger actor who championed a
different technique, which happened in every country. The romantic and
emotive Edmund Kean followed Sarah Siddons, who followed Garrick
and so on.
The limelight gave way to the rise of gas lighting and then on to
electricity. More and more physical detail appeared on stage and
costumes and scenic displays grew in complexity and size, which
dwarfed the actor.

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