Comments on: the trouble with Meisner http://www.utteracting.com/blog/?p=139 Go Deeper Now. Thu, 17 Nov 2011 13:15:35 +0000 hourly 1 http://wordpress.org/?v=3.0.1 By: David Perry http://www.utteracting.com/blog/?p=139#comment-985 David Perry Thu, 17 Nov 2011 13:15:35 +0000 http://blog.utteracting.com/?p=139#comment-985 Robert Epstein is completely correct when he speaks about Interpretation as part of the so-called Meisner training. I call it "so-called" because everyone now teaches their version of what they think it is if indeed it ever was something as tangible as some people might like to think it was. It is a much much longer conversation about the many ways in which certain teacher's interpretations of repetition and emotional preparation - the two signature elements of the technique - are off the mark. And it should always be recognized, as I think some commentators here have, that acting training, like all the other arts, is something that is experienced, that occurs in thousands of hours of training in a classroom, in thousands of hours alone, and then is applied to the many challenges of working in a collaborative environment filled with many demands foremost of which is to fulfill those of the playwright. Robert Epstein is completely correct when he speaks about Interpretation as part of the so-called Meisner training. I call it “so-called” because everyone now teaches their version of what they think it is if indeed it ever was something as tangible as some people might like to think it was. It is a much much longer conversation about the many ways in which certain teacher’s interpretations of repetition and emotional preparation – the two signature elements of the technique – are off the mark. And it should always be recognized, as I think some commentators here have, that acting training, like all the other arts, is something that is experienced, that occurs in thousands of hours of training in a classroom, in thousands of hours alone, and then is applied to the many challenges of working in a collaborative environment filled with many demands foremost of which is to fulfill those of the playwright.

]]> By: Paul Comi http://www.utteracting.com/blog/?p=139#comment-479 Paul Comi Thu, 30 Jun 2011 21:36:08 +0000 http://blog.utteracting.com/?p=139#comment-479 I was wondering if the students mentioned in the article were the basis of the problem or was the problem attributable to the poor teaching of teachers who never were students of nor were trained by Meisner. The basis of my comments comes from my personal history of having very little training, but the good fortune of achieving a forty year career that included roles in 18 feature silms and nearly 300 television roles. I was fortunate to become a professional actor in the late 1950's when many film actors would not do Television because the money was not comparable or they considered it to be "unworthy." As a result of this, a number of us, along with such names as Robert Redford, Paul Newman, Lee Marvin etc. had the food fortune to work with some of the talented new writers and directors in TV. The teacher was a former contract player at Paramount and had been drafted during WWII. Upon his discharge, his former fiance, Lorain Day had married Leo Durocher so he went after a career in teaching. He became a very strong influence on me and urged me to consider an acting career, but "not in film" he said, he did not feel that I was a "leading Man" type for film. Ironically, being brought to Fox for a screen test after getting great reviews for a small role in the play "Career" at the La Jolla PLayhouse, where I served as an apprentice in 1957, I was put under contract and given the part of Pvt Abbott in "The Young Lions" with Marlon Brando and Montgomery Clift. During my time at Fox, Meisner was brought to Hollywood by the studio to work with contract players. I had a chance to attend his class and work with him. I also acted in two television roles directed by one of his exceptionally talented students, Sydney Pollack, who, when working as a director gave wonderful advice as a teacher. His acting "chops" are very apparent in such roles as Hoffman's agent in "Tootsie" I was wondering if the students mentioned in the article were the basis of the problem or was the problem attributable to the poor teaching of teachers who never were students of nor were trained by Meisner.
The basis of my comments comes from my personal history of having very little training, but the good fortune of achieving a forty year career that included roles in 18 feature silms and nearly 300 television roles.

I was fortunate to become a professional actor in the late 1950′s when many film actors would not do Television because the money was not comparable or they considered it to be “unworthy.”

As a result of this, a number of us, along with such names as Robert Redford, Paul Newman, Lee Marvin etc. had the food fortune to work with some of the talented new writers and directors in TV.

The teacher was a former contract player at Paramount and had been drafted during WWII. Upon his discharge, his former fiance, Lorain Day had married Leo Durocher so he went after a career in teaching. He became a very strong influence on me and urged me to consider an acting career, but “not in film” he said, he did not feel that I was a “leading Man” type for film.

Ironically, being brought to Fox for a screen test after getting great reviews for a small role in the play “Career” at the La Jolla PLayhouse, where I served as an apprentice in 1957, I was put under contract and given the part of Pvt Abbott in “The Young Lions” with Marlon Brando and Montgomery Clift.

During my time at Fox, Meisner was brought to Hollywood by the studio to work with contract players. I had a chance to attend his class and work with him. I also acted in two television roles directed by one of his exceptionally talented students, Sydney Pollack, who, when working as a director gave wonderful advice as a teacher. His acting “chops” are very apparent in such roles as Hoffman’s agent in “Tootsie”

]]> By: Robert Epstein http://www.utteracting.com/blog/?p=139#comment-97 Robert Epstein Wed, 11 Aug 2010 18:38:50 +0000 http://blog.utteracting.com/?p=139#comment-97 Hi. I am a Meisner-based acting teacher in Washington DC. I studied Meisner for eight years in New York, and taught in New York for 15 years before relocating, so I have been teaching for 25 years. The idea that Meisner is only about talking and listening and does not include textual analysis is a myth that has been perpetuated for many years. Unfortunately there are Meisner teachers out there who have adopted this philosophy and only teach the basic work, thinking that it is the whole technique. Meisner's program had two phases - Basic or First-Year work, and the Advanced or Second-Year work. Guess what the second year work was called? Interpretation or the Interpretive work. The problem is that the second year work was done by selection and most of the first year students didn't get in, and they went on to say they knew Meisner Technique, while only knowing the basics. This is true of some Meisner teachers as well. The repetition work is a training regimen that allows you to respond truthfully to what is happening in the moment. In the second year work, that ability is put in the service of scene interpretation, with a number of phases, including a breakdown of what the scene is about, including its background,what you are "going after" in the scene [overall Objective in other schools,] paraphrasing to create an active subtext, and dividing the scene into "Beats" or sections, with a breakdown of what you are doing in each of these "Beats." In other words, a full interpretive technique that is well beyond "talking and listening." In addition, advanced students in Meisner learn one of the most effective character techniques that exists, finding both the emotional life and specific physical expression of the character. Meisner trained emotional work through Eugene O'Neill plays and trained physical character work through Restoration Comedy scenes which have a broad physical life to work with. As you can see from the above, Meisner involves a complete and comprehensive approach to acting for those who complete and understand the full program. Those who say it is all about behaving truthfully are stuck in the ABCs and haven't experienced the complete program. In my own studio I have expanded the character technique as well as adding programs on Film & TV acting, Audition technique and an in-depth Classical technique, so the potential of Meisner is quite broad.<br /><br />Robert Epstein,<br />Acting Instructor, <br />Film & Theatre Director<br />Complete Meisner Training<br /> in Washington, D.C.<br />http://www.completeactorstraining.com Hi. I am a Meisner-based acting teacher in Washington DC. I studied Meisner for eight years in New York, and taught in New York for 15 years before relocating, so I have been teaching for 25 years. The idea that Meisner is only about talking and listening and does not include textual analysis is a myth that has been perpetuated for many years. Unfortunately there are Meisner teachers out there who have adopted this philosophy and only teach the basic work, thinking that it is the whole technique. Meisner's program had two phases – Basic or First-Year work, and the Advanced or Second-Year work. Guess what the second year work was called? Interpretation or the Interpretive work. The problem is that the second year work was done by selection and most of the first year students didn't get in, and they went on to say they knew Meisner Technique, while only knowing the basics. This is true of some Meisner teachers as well. The repetition work is a training regimen that allows you to respond truthfully to what is happening in the moment. In the second year work, that ability is put in the service of scene interpretation, with a number of phases, including a breakdown of what the scene is about, including its background,what you are "going after" in the scene [overall Objective in other schools,] paraphrasing to create an active subtext, and dividing the scene into "Beats" or sections, with a breakdown of what you are doing in each of these "Beats." In other words, a full interpretive technique that is well beyond "talking and listening." In addition, advanced students in Meisner learn one of the most effective character techniques that exists, finding both the emotional life and specific physical expression of the character. Meisner trained emotional work through Eugene O'Neill plays and trained physical character work through Restoration Comedy scenes which have a broad physical life to work with. As you can see from the above, Meisner involves a complete and comprehensive approach to acting for those who complete and understand the full program. Those who say it is all about behaving truthfully are stuck in the ABCs and haven't experienced the complete program. In my own studio I have expanded the character technique as well as adding programs on Film & TV acting, Audition technique and an in-depth Classical technique, so the potential of Meisner is quite broad.

Robert Epstein,
Acting Instructor,
Film & Theatre Director
Complete Meisner Training
in Washington, D.C.
http://www.completeactorstraining.com

]]> By: Madhypnotist http://www.utteracting.com/blog/?p=139#comment-21 Madhypnotist Sat, 14 Mar 2009 18:58:00 +0000 http://blog.utteracting.com/?p=139#comment-21 Nicely said. I have to agree with most of the posters here in the fact that you should gather all sorts of techniques and use what works. Im an actor and I have been beaten up mentally and physically by casting directors, directors, fellow actors, and it always amuses me when you can see the "technique" as opposed to actual acting. Recently, I was critiqued in a way that made me realize I had grown a bit rusty in certain styles and appreciated the insight. However, different strokes for different folks. I heard Dustin Hoffman speak once about yelling in his green room to achieve a tired raspy voice for Death of a Salesman, and his discussion with Olivier is legendary. A little much for me. But, you know his name much more than mine...so maybe I am wrong...lol. I always liked Micheal J. Fox's answer of. "I lie. I lie for a living, its all B.S." So. What can one do? I'm a working actor...granted less and less lately.. lol.. but I pull the technique I need from bits and pieces of several schools... including.. say your line and dont bump into the furniture. Many actors have bigger paying careers doing far less. Nicely said. I have to agree with most of the posters here in the fact that you should gather all sorts of techniques and use what works. Im an actor and I have been beaten up mentally and physically by casting directors, directors, fellow actors, and it always amuses me when you can see the “technique” as opposed to actual acting. Recently, I was critiqued in a way that made me realize I had grown a bit rusty in certain styles and appreciated the insight. However, different strokes for different folks. I heard Dustin Hoffman speak once about yelling in his green room to achieve a tired raspy voice for Death of a Salesman, and his discussion with Olivier is legendary. A little much for me. But, you know his name much more than mine…so maybe I am wrong…lol. I always liked Micheal J. Fox’s answer of. “I lie. I lie for a living, its all B.S.” So. What can one do? I’m a working actor…granted less and less lately.. lol.. but I pull the technique I need from bits and pieces of several schools… including.. say your line and dont bump into the furniture. Many actors have bigger paying careers doing far less.

]]> By: Jeff http://www.utteracting.com/blog/?p=139#comment-20 Jeff Sat, 14 Mar 2009 16:46:00 +0000 http://blog.utteracting.com/?p=139#comment-20 The fascination with all things Meisner in Los Angeles IS the current flavor of the last few years. (This is from a friend who studied with Meisner in NY--Meisner actually threw a full cup of tea at him when a scene wasn't taking off.) Meisner most probably had far more breadth as a teacher than the very methodology that he's ancestered.<br/>Actors come in a myriad of shapes and sizes and strengths and innate faculties. They're UNIQUE, and naturally call for different approaches from a teacher. Sometimes a repetition exercise will work in a given moment, sometimes focus on physical activity will free an actor. A new actor MAY need to blow out colossal emotions in a scene, however inappropriate. Preanalysis can get heady, but it may be just the ticket on occasion, whereas discoveries through doing may work best for a particular actor. Mostly, and especially in this town, VOICE, the core instrument itself, is sadly unattended to. (Why do these Brits and Aussies and Canadians get 1000 times more work per capita than American trained actors? Go figure. Actually, call me aqnd I'll tell you why : ) So I'm with you. Walking and talking "naturally" does not make an actor. It goes much deeper than that, but a singular methodology is no answer. In the end, a strong, experienced and caring teacher, who avoids making a guru of himself, is what any aspiring actor wants. Ironically, it takes a strong and experienced actor to recognize a good teacher. (Sigh...)<br/>Here's the punchline: I teach voice at the Sanford Meisner Center in Hollywood, and am honored to be there.<br/>Jeff Cohen<br/>Acting and Voice teacher <br/>To espouse one technique The fascination with all things Meisner in Los Angeles IS the current flavor of the last few years. (This is from a friend who studied with Meisner in NY–Meisner actually threw a full cup of tea at him when a scene wasn’t taking off.) Meisner most probably had far more breadth as a teacher than the very methodology that he’s ancestered.
Actors come in a myriad of shapes and sizes and strengths and innate faculties. They’re UNIQUE, and naturally call for different approaches from a teacher. Sometimes a repetition exercise will work in a given moment, sometimes focus on physical activity will free an actor. A new actor MAY need to blow out colossal emotions in a scene, however inappropriate. Preanalysis can get heady, but it may be just the ticket on occasion, whereas discoveries through doing may work best for a particular actor. Mostly, and especially in this town, VOICE, the core instrument itself, is sadly unattended to. (Why do these Brits and Aussies and Canadians get 1000 times more work per capita than American trained actors? Go figure. Actually, call me aqnd I’ll tell you why : ) So I’m with you. Walking and talking “naturally” does not make an actor. It goes much deeper than that, but a singular methodology is no answer. In the end, a strong, experienced and caring teacher, who avoids making a guru of himself, is what any aspiring actor wants. Ironically, it takes a strong and experienced actor to recognize a good teacher. (Sigh…)
Here’s the punchline: I teach voice at the Sanford Meisner Center in Hollywood, and am honored to be there.
Jeff Cohen
Acting and Voice teacher
To espouse one technique

]]> By: Pat Towne http://www.utteracting.com/blog/?p=139#comment-19 Pat Towne Sat, 14 Mar 2009 15:43:00 +0000 http://blog.utteracting.com/?p=139#comment-19 couldn't agree more. i get tired of indulgent acting that doesn't know how to focus. emotions are for the audience to have. i could care less what the actor FEELS. i care how i feel as i watch. couldn’t agree more. i get tired of indulgent acting that doesn’t know how to focus. emotions are for the audience to have. i could care less what the actor FEELS. i care how i feel as i watch.

]]> By: voiceheart http://www.utteracting.com/blog/?p=139#comment-18 voiceheart Sat, 14 Mar 2009 15:27:00 +0000 http://blog.utteracting.com/?p=139#comment-18 I don't usually comment on pieces I read but I really did want to join you in your thoughts. As a Hollywood acting coach for over 20 years as well as Hong Kong, I have always tried to stay away from explaining other training unless of course a client is being physically or emotionally hurt by what a teacher is doing and unfortunately that happens. <br/>I appreciate your detailed explanation of the pluses and minuses in Meisner training. I do question the teachers that say there is only one way to do and it is his or her way!! <br/>I really think actors can learn from any class even it is only what NOT to do or that what is being taught DOESN'T work for that particular actor. <br/>Thanks for your piece. <br/>Jeanne Hartman<br/>www.JeanneHartmanActorsDetective.com I don’t usually comment on pieces I read but I really did want to join you in your thoughts. As a Hollywood acting coach for over 20 years as well as Hong Kong, I have always tried to stay away from explaining other training unless of course a client is being physically or emotionally hurt by what a teacher is doing and unfortunately that happens.
I appreciate your detailed explanation of the pluses and minuses in Meisner training. I do question the teachers that say there is only one way to do and it is his or her way!!
I really think actors can learn from any class even it is only what NOT to do or that what is being taught DOESN’T work for that particular actor.
Thanks for your piece.
Jeanne Hartman
http://www.JeanneHartmanActorsDetective.com

]]> By: Ron http://www.utteracting.com/blog/?p=139#comment-17 Ron Sat, 14 Mar 2009 01:45:00 +0000 http://blog.utteracting.com/?p=139#comment-17 wow, fantastic and informative read wow, fantastic and informative read

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