"How does this book relate to your life outside of theatre?"

          In all honesty, and I know this may sound a little on the pathetic side, I don't really have much of a life outside of theater! I spend the large majority of my time working on projects that are somehow linked to acting, singing, or other aspects of the theater world. However, what is contained in Meisner's book can definitely be applied to everyday life, and I do appreciate that aspect of his technique very much. 
          The main focus of the Meisner technique is relying on instincts - they should drive all action, and nothing should be forced unless your impulses or your scene partner's impulses make you do it. I think that this idea would actually really help me in life in general - I tend to overthink and overanalyze things, so relying on my basic instincts and impulses would be a wonderful change for me. Whether it's in social situations, personal situations, or under any other circumstances, a person's basic instincts are often correct from the very beginning, and I think that I usually take mine for granted. By following my instincts more often, I believe that my life will become a little less complicated and stress-free, and I have Sandy to thank for that.


Quote of the week:

"God almighty, woman, stop acting! I can't stand it!"

"Free Write."

          "The foundation of acting is the reality of doing." This is the opening statement Meisner makes to his acting students in the first class of the semester, making them repeat it out loud and providing various examples to prove it to them. Once they are convinced enough, he introduces them to the basis for his technique, which he calls Repetition. It truly is as simple as it sounds - one person makes a statement, the other repeats it back to them, then the first person repeats it again, etc. It involves no intellectual activity, simply hearing what your partner is saying and repeating the words exactly. After practicing this seemingly juvenile exercise for a little while, they move on to the next level - repetition from your own point of view. For instance, if one actor says "Do you curl your hair?", the other may reply "Yes, I curl my hair," or even "No, I do not curl my hair." The exercise continues with each person repeating what the other has said but from their own perspective.

         Meisner then introduces two new principles to the Word Repetition Game: "Don't do anything unless something happens to make you do it," and "What you do doesn't depend on you; it depends on the other person." The exercise continues with some humorous situations unfolding, and the actors start to experiment with their impulses and instincts. Next, an independent activity is added - one of the actors chooses an activity to do with a high level of difficulty, a sense of urgency, and a valid reason as to why they must complete it. For example, Meisner tells one of the actors that he met a beautiful girl at a party, but he lost her phone number; therefore, his activity is to look through all the "Smiths" in the Manhattan phonebook until he finds her. While the actor is carrying out his or her independent activity, the repetition game continues - the other actor speaks to the actor doing the activity, who must still repeat what they've said while staying focused on their activity.

         That's just about as far as I've gotten in the book, but I am truly intrigued by this Word Repetition Game. Although it may seem ridiculously easy or dull, I can see how it would be difficult to stay truthful and genuine while playing. I'd love to try it out and see how I did; following your impulses is always a challenge, but I know it would also be liberating if I was able to surrender completely to my instincts.

Quote of the week:

"Beethoven was a bastard in real life, you know. He was a real bastard. But his music is pure and based in his real feeling. That is why he was great. Not because he fired his servant, which he did, because a sock was missing out of the laundry. What I'm saying is that the truth of ourselves is the root of our acting."

"Go out and do something your book recommends."

"God I hope I get it..."

        Something that Sanford Meisner talks about in his book is the importance of experience. It is crucial that actors attempt to gain as much theater experience as possible if they hope to grow and improve at their craft. This involves taking up any job opportunities or internships in the theater world, working as crew or in a backstage aspect, and most importantly, auditioning as much as possible.

        So, in a very spur of the moment decision,  I decided to follow Sandy's advice and go audition for something. I received an e-mail on Friday about an audition for a local conservatory, and by some miracle I managed to show up on Saturday and put on a decent audition. Although I must admit I was a tad nervous, the audition was actually very laid back. The owners/directors of the theater company seemed to like me a lot, especially my singing, and they said they would love to have me for an advanced scene study class they'd be starting soon. They also told me that I'd be great for some of the productions they'd be putting on this year, which really flattered and excited me. I'm so glad that I'm going to get the chance to get some more experience, and it's all thanks to Sandy! ;)

        And so, I'll close this week's blog with another quote from the book (I decided to make this a weekly thing):

"You know, it's all right to be wrong, but it's not all right not to try."

"Introduction. Why are you reading this book?"

   

          After a long and merciless two hours spent scrounging around Borders for a decent book, I finally decided to read Sanford Meisner On Acting for our Blog Project assignment. I was drawn to this book for several reasons. First of all, one of my close friends just returned from a summer theater program at Brown University, and after six weeks of learning and utilizing the Meisner Technique he now swears by it. Additionally, while scanning the back cover I was intrigued by the fact that this book follows the story of an acting class of eight men and eight women over the course of fifteen months as they hone their craft under the guidance of "Sandy" Meisner. This appealed to me because rather than just a straightforward how-to book filled with diagrams and dry instructions, this book is written almost like a diary, with dated entries spanning the duration of the actors' journeys. I have no doubt that this book will grasp hold of my attention and keep me interested, which is a challenge within itself.

        Finally, I chose this book because it was different. Throughout my entire "acting career", I feel like I've only been exposed to a certain type or method of acting that, to be honest, has left me a little unsatisfied. I feel that by expanding my horizons and opening myself up to new techniques and approaches, I will be able to grow leaps and bounds in regards to acting.

        As I skimmed through the first couple pages, something caught my eye - one of the opening quotes in the book chosen by Meisner, which reads:

        "I wish the stage were as narrow as the wire of a tightrope dancer, so that no incompetent would dare step upon it."

        I think me and Sandy will get along just fine.