The Meisner Technique

The Meisner Technique
Not just a technique for acting; a technique for life
Sandford Meisner’s technique has become a highly regarded approach for film and television acting, praised for it’s ability to teach the artist to live in the moment, live instinctually and loose self awareness.
It is a technique used not only for the personal development of the artist but a path for them to embrace their instincts in the pursuit of truthful acting, directing, storytelling and life skills.
Studied by actors William H Macy, Phillip Seymour Hoffman, Diane Keaton, directors Elia Kazan and Sydney Pollack and writers like David Mamet.
This two day introductory workshop will teach you the foundations, the philosophies and practical application of the Meisner Technique. Places are strictly limited.
“Take it from a director: if you get an actor that has been Meisner trained, you’ve been blessed” Elia Kazan
“When truths about one art are deep enough, they become true about all art, without knowing it l was absorbing the foundation of what would become a very specific approach to directing” Sydney Pollack

This two day introductory workshop will be taught by Meisner trained actor Louise Lee Mei (Rescue Special Ops, Lucidya, Fame Game) Originally from Newcastle she began training in the Meisner technique at 15 completing two years of preliminary teen training and theatre before moving to Sydney and enrolling full time at The Actors Pulse.

The Meisner Technique
Not just a technique for acting; a technique for life
Two day Introductory Workshop Program
“Acting is the ability to live truthfully under the given imaginary circumstances” Sandford Meisner
DAY ONE
Repetition – Stage One Taking the first thing – The foundation of acting is the reality of doing. This is the first step in the Meisner tool kit as it teaches the artist to really listen, and place all of his attention on the other person.There is no ‘trying to do’ anything, be it smart, funny, charismatic.All that is required is to relax and let go of any thought.A relaxed artist is a ready artist.
Repetition – Stage Two Repeating from your point of view – Don’t do anything unless the other fellow makes you do it. Instincts are spontaneous and devoid of any intellectual thought. Here the repetition game is played from both partners points of view, calling things that come from their partner, as they happen, in the moment.The artist learns that what he really feels and honestly expressing it forms the basis of his tool kit.
Homework – Preparing the Activity
Urgent, truthful & difficult to do.
Prepare a given circumstance that has an essence of truth combined with an imaginary situation. Give it a time frame.The imaginary situation must involve a physically difficult task to accomplish. Lastly you add a justification for getting the task done.Which is the ‘why’ in your given circumstance.
DAY TWO
Calling Behavior – An ounce of behavior is worth a thousand words. It’s not about the words, it’s about their behavior. It might feel strange having to think of the word that summaries your partners behavior at first, but practicing will lead to quicker ‘out of your head’ responses.The trick is to not drop the contact.
Balancing the Stick – Give into it and be wrong. Sandy said to transfer the point of concentration outside of yourself is a big battle won.This tool teaches the artist the importance of concentration in their work while dealing with their partner. The emotion does not have to be found, the emotion finds you.
Activities & Doors – That which hinders your task is your task. The story’s already written, the artists job is to illustrate the inner journey of the character arc. Activities and doors are the Meisner actors equivalent to scenes.When both partners are fully invested in their given circumstances, the contact is at it’s fullest and the artists are driven instinctually by each others behavior.