By Maggie Flanigan
By studying the Meisner Technique, actors have a chance to explore the concept of the actors instrument. An analogy between an actor and an instrument is a good way to help define all the aspects of the acting craft and help actors take in idea, information and lines and put out high quality work. Audience members are quick to determine whether actors are portraying a new reality well enough to hold their attention. It may also just be a sense of something not coming across in the right way. They can also sense when an actors instrument is not well developed, because they don't "believe" the character portrayal.
There are six aspects to consider when looking at the actors instrument. They are: physical expression, emotional expression, imagination, sensory expression, intelligence and empathy. These six aspects of the actors instrument are identified and developed when studying the Meisner Technique. It is easy even for non actors to identify professional actors who have mastered the different aspects of their "instrument." It is the true legends, the icons of stage and screen, that have mastered all six.
There are six aspects to consider when looking at the actors instrument. They are: physical expression, emotional expression, imagination, sensory expression, intelligence and empathy. These six aspects of the actors instrument are identified and developed when studying the Meisner Technique. It is easy even for non actors to identify professional actors who have mastered the different aspects of their "instrument." It is the true legends, the icons of stage and screen, that have mastered all six.
For example, an actor like Stallone is known mainly for his physical expression and presence. Stallone is certainly able to express emotionally, but overall his most powerful tool onscreen is his physical expression. As an actor he expresses emotional in a very physical, often external way. This is why actors must focus on learning about each and every aspect of the instrument, so that they can be as well rounded as possible.
Emotional expression is one of the first things most up and coming actors focus on. Thinking deeply about how a character feels about something and trying to emulate it is a very common thing for up and coming actors to try and master. While it can be short sighted to put too much weight on any one aspect of the actors instrument, emotional expression is certainly a key acting tool to master. All six of the aspects of the instrument should be studied diligently until they are mastered.
Of course, it is meaningful emotional expression that draws people into any character or story. It is through this kind of expression that the audience is drawn in to the story. It is common in classes teaching Meisner acting in nyc to create an emotional history of a character, imagine it in detail and then use all the aspects of the instrument to express them. Students of Meisner acting must study the range of human emotions in all their complexity. They in fact, build a library of emotions and reactions and methods for communicating them. When a specific character needs to be presented, these then delve more deeply and specifically into imagining (another aspect of the instrument) what the character's emotions feel like. This created life, its emotions and patterns of behavior, are then drawn upon moment by moment, not in rehearsed ways, but spontaneously.
Vulnerability, for example is an expression of the emotion of insecurity. It's one thing for an actor to understand that and work with it. But, if they have strongly developed other aspects of their instrument, such as physical expression and empathy, they will be able to present an authentic, vulnerable character. After all, vulnerability can be expressed through tears, or smashing s
Emotional expression is one of the first things most up and coming actors focus on. Thinking deeply about how a character feels about something and trying to emulate it is a very common thing for up and coming actors to try and master. While it can be short sighted to put too much weight on any one aspect of the actors instrument, emotional expression is certainly a key acting tool to master. All six of the aspects of the instrument should be studied diligently until they are mastered.
Of course, it is meaningful emotional expression that draws people into any character or story. It is through this kind of expression that the audience is drawn in to the story. It is common in classes teaching Meisner acting in nyc to create an emotional history of a character, imagine it in detail and then use all the aspects of the instrument to express them. Students of Meisner acting must study the range of human emotions in all their complexity. They in fact, build a library of emotions and reactions and methods for communicating them. When a specific character needs to be presented, these then delve more deeply and specifically into imagining (another aspect of the instrument) what the character's emotions feel like. This created life, its emotions and patterns of behavior, are then drawn upon moment by moment, not in rehearsed ways, but spontaneously.
Vulnerability, for example is an expression of the emotion of insecurity. It's one thing for an actor to understand that and work with it. But, if they have strongly developed other aspects of their instrument, such as physical expression and empathy, they will be able to present an authentic, vulnerable character. After all, vulnerability can be expressed through tears, or smashing s
Of course, it is meaningful emotional expression that draws people into any character or story. It is through this kind of expression that the audience is drawn in to the story. It is common in classes teaching Meisner acting in nyc to create an emotional history of a character, imagine it in detail and then use all the aspects of the instrument to express them. Students of Meisner acting must study the range of human emotions in all their complexity. They in fact, build a library of emotions and reactions and methods for communicating them. When a specific character needs to be presented, these then delve more deeply and specifically into imagining (another aspect of the instrument) what the character's emotions feel like. This created life, its emotions and patterns of behavior, are then drawn upon moment by moment, not in rehearsed ways, but spontaneously.
Vulnerability, for example is an expression of the emotion of insecurity. It's one thing for an actor to understand that and work with it. But, if they have strongly developed other aspects of their instrument, such as physical expression and empathy, they will be able to present an authentic, vulnerable character. After all, vulnerability can be expressed through tears, or smashing something to pieces or just walking through a park. There is no predictable, safe way to do this.
One common myth is that acting is pretending to have certain emotions. Simply reciting inflections and gestures that express certain emotions is not acting. Acting is DOING, as master teacher Sanford Meisner always said. In other words acting is being in the moment and allowing any number of emotional reactions well up and take you over and turn you into the actual character. This may feel risky at first. The best actors do not pretend to feel something, or coach themselves to do anything while in character. They feel genuine, strong emotions and a sense of grief or loss and images makes them cry. Acting students who have developed a deep capacity of raw, true human experience that can express it using all aspects of the instrument are the ones that learn the most about the craft. Actors must give themselves permission to feel strong emotions, and express them (or not, if the role requires it) in physical, intelligent, empathetic ways.
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Vulnerability, for example is an expression of the emotion of insecurity. It's one thing for an actor to understand that and work with it. But, if they have strongly developed other aspects of their instrument, such as physical expression and empathy, they will be able to present an authentic, vulnerable character. After all, vulnerability can be expressed through tears, or smashing something to pieces or just walking through a park. There is no predictable, safe way to do this.
One common myth is that acting is pretending to have certain emotions. Simply reciting inflections and gestures that express certain emotions is not acting. Acting is DOING, as master teacher Sanford Meisner always said. In other words acting is being in the moment and allowing any number of emotional reactions well up and take you over and turn you into the actual character. This may feel risky at first. The best actors do not pretend to feel something, or coach themselves to do anything while in character. They feel genuine, strong emotions and a sense of grief or loss and images makes them cry. Acting students who have developed a deep capacity of raw, true human experience that can express it using all aspects of the instrument are the ones that learn the most about the craft. Actors must give themselves permission to feel strong emotions, and express them (or not, if the role requires it) in physical, intelligent, empathetic ways.
About the Author:
The Maggie Flanigan Studio provides training for serious actors committed to improving their craft. Find out more about meisner by reading this article about acting instrument by visiting the studio website.