Meisner technique
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- acting
The Meisner technique is a system of dramatic training developed by Sanford Meisner, an American actor and one of the most influential acting teachers in the United States after World War II (1939–45). Although Meisner based his technique on the Stanislavsky system—better known as method acting, or the method—the Meisner technique differs greatly from method acting, primarily in the source of the emotions that an actor brings to a performance. While method acting urges actors to find emotion by recalling their own relevant past experiences, the Meisner technique instead focuses on the actors’ imagination and responses to other actors on the stage or set.
Meisner thought that acting is not persuasive when the actors do not listen and react to each other. The technique he taught his students is characterized by the expression “Acting is the ability to behave absolutely truthfully under the imaginary circumstances.” The goal of his technique is to make acting believable. To do this, Meisner believed, actors must appear to react to each other as people would in real life. Their actions should appear to be spontaneous and related to what is happening on the stage or set in front of them rather than simply produced by line readings and rehearsal.
Components of the Meisner technique
The Meisner technique has three main components: emotional preparation, repetition exercises, and improvisation. To prepare emotionally before acting in a scene, an actor thinks about a character’s background and uses imagination or a memory of a real-life experience to construct an understanding of the character’s emotional life. Thus, when beginning a scene, the actor already feels the character’s emotions rather than being “emotionally empty.” The actor is then free to use those emotions to react to other actors.
In repetition exercises, two actors work together to sharpen their ability to respond to each other authentically. One actor makes an observation about the other, such as “You look happy.” The other actor repeats those words. This sets off a back-and-forth interaction between the actors, in which each reacts to the words, behaviors, and emotions of the other. As they repeat the words, they follow their instincts and wait to see what will happen—what emotions and behaviors will arise spontaneously, affecting the intonation and intensity of their speech. New, improvised dialogue often arises as the exercise continues.
Emotional preparation and repetition exercises help actors learn how to improvise effectively. Following the Meisner technique, actors come to rely on their instincts to respond to other actors just as their characters would in real life. The actors do not even think about what to do; they simply respond instinctively.
The components of Meisner’s technique are explained in a book authored by Meisner and the American actor and art history instructor Dennis Longwell, Sanford Meisner on Acting (1987).
Development of the Meisner technique
Meisner began to form his ideas about acting at the Group Theatre in New York City, which he joined as an original member in 1931, along with founders Lee Strasberg, Cheryl Crawford, and Harold Clurman. The Group Theatre taught and used the Stanislavsky system, developed by the Russian actor, producer, and theorist Konstantin Stanislavsky. Method actors are encouraged to use affective memory, also called emotional recall. In this technique, actors recall past experiences—and their accompanying emotions—that are the same or similar to a situation that their characters experience. This, Stanislavsky believed, would infuse their acting with the emotions necessary for the character and scene.
Meisner and Stella Adler, another original member of the Group Theatre, grew to dislike the use of affective memory. They came to believe that causing actors to relive disturbing emotional memories was manipulative and unhealthy and that actors would do better to rely on their imaginations. (Stanislavsky himself eventually ceased teaching the use of affective memory, having concluded that it constrained actors’ imaginations and might have negative effects on them.)
In 1936 Meisner became head of the acting department at the Neighborhood Playhouse School of the Theatre in Manhattan, where he incorporated some of Stanislavsky’s teachings into his own teaching style. He developed and taught the Meisner technique at the Neighborhood Playhouse and, later, at the Sanford Meisner Center for the Arts (now the Sanford Meisner Center) in Los Angeles. Currently the Meisner technique is also taught at the Meisner Technique Studio in San Francisco and at other drama schools and centers.
Actors who have been trained in the Meisner technique include James Gandolfini, Diane Keaton, Jeff Goldblum, Chadwick Boseman, Christoph Waltz, Timothée Chalamet, Tracee Ellis Ross, Grace Kelly, Tina Fey, Peter Falk, and Sigourney Weaver.