Temporarily remove one item from the list–verse speaking– and the list, in my opinion, is made up of things integral to Acting, period. Strasberg not only ignored the list, he relegated the components to a position of negative irrelevance. He based almost the entirety of what became HIS “Method”, on what amounted to one of Stanislavsky’s exercises–”Emotional Memory”. Then he sickly extrapolated from there to insist upon the fact that for the actor everything must be “Real”. He never explored even a major sliver of Stanislavsky’s theories at all, as people like Stella Adler, who actually worked with Stanislavsky and Richard Lewis, co-founder of the Group Theatre, were quick to note.
“By saying that the Group Theatre used an adaptation of the Stanislavsky Method, we mean that we emphasized elements that he had not emphasized and disregarded elements which he might have considered of greater importance.” –Strasberg
I hope the “Stanislavsky-based approach” isn’t simply more of Strasberg’s bastardizations–the ones that fill our universities posing as the maxims of Stanislavsky–the mostly equivocating psychobabble of a former megalomaniacal Guru to the Stars.