In this paper, I present three shorter analyses created according to the Philther-method; one focusing on the 1936 performance of The Silent Knight (director: Sándor Hevesi), a second on the 1937 performance of Mourning Becomes Electra (director: Antal Németh), and a third on the 1950 performance of Intrigue and Love (director: Endre Gellért). The leading actress in all three performances was Gizi Bajor. I examine these performances because I am interested in what could be uncovered and what could be said about acting and the actor’s work a century later through following the Philther method and its principles, namely keeping the performance as the central object of scientific inquiry; placing emphasis on micro-histories; and embedding the actor’s work into a historical context.