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ing.
ior.
know how you feel about things, people, and the world around you and what defense
mechanisms you use in the real world to keep these feelings at bay. These defense mech-
anisms must be stripped away before any truthful behavior can be revealed.
Impulsiveness: All good acting stems from an actors instincts, by honoring impulses and
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not intellectualizing the work. We need to learn to act from our gut not our heads.
And you must have trained body and voice that is strong and dextrous enough to do all of
this.
is accomplished; the way in which the fundamentals, as of an artistic work, are handled.
All serious artists commit themselves to learning the technique of their craft, no one is
asked to play a Bach concerto at their first piano lesson, but in many acting classes begin-
ning students are given complex scenes on the first day – asked to perform them, given a
The Meisner Technique, however, takes the training of actors as seriously and as systemat-
ically as the training of dancers and musicians. As teachers of Sanford Meisner’s work, we
step-by-step process that allows for actors to gain the skill sets required to create a charac-
ter and live in the imaginary world of the play. The skills required to act go way beyond how
so how do we gain skills? How does an NBA player improve his jump shot? Not in the
game – but through drills, exercises and PRACTICE! – and that is how we improve our con-
nection, our focus, our emotional expression our self-knowledge, and hone our instincts –
PRACTICE!
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