Meisner Training Maggie Flanigan- Meisner Training

Meisner Training Maggie Flanigan- Meisner Training

Meisner Training

Preparing for a role is one of the most important steps in Meisner Training. However, you will need to prepare within your character, and not with the lines. By creating a detailed and dimensional character, you will be able to deliver your lines in true spontaneity.

Once you have memorized the basics of the lines you are able to interact with the other characters in a more natural and spontaneous fashion. Memorizing certain vocal inflections can limit the dimension of a character, and can cause for a surface-level performance. However, when you memorize your lines in a dry tone, you will be able to react in the moment, rather than through a rehearsed reaction.

Listen and respond to your scene partner as your character, and not yourself. How would your character, within their vast spectrum of feelings and desires, react to what your partner is saying? Actually listening to what your scene partner is saying is vital to the reality of your character. Do not listen to the dialogue you've memorized in your head, but rather the words that are coming out of the other characters mouth. Then, respond to what they are saying, not how the script has it laid out.

Despite some misconceptions, Meisner work also addresses the development of character, though in an indirect way. Character attributes such as "mousy," "vindictive," or "noble" are the result of actors' choices when juxtaposed to the story in the text.

Rather than specifically playing "mousy", a Meisner actor would instead want to continually appease another character to create the appearance of the quality. Such derivation of attributes or qualities from specific actions is a critical skill developed by Meisner students. Instead of specifically portraying the personality traits required, the actor instead behaves in such a way that the audience believes the character embodies the traits.

Meisner training includes extensive work on crafting or preparing a role. As students mature in the work, they get to know themselves and can make use of this self-knowledge by choosing actions compelling to their particular instrument. They "come to life" through informed, provocative choices. Actors prepare emotional responses by "personalizing" and "paraphrasing" material and by using their imagination and "daydreaming" around a play's events in highly specific ways that they've learned are especially evocative to them personally.

When circumstances are advanced, this preparation must be accomplished with specificity and depth, or else the actor's attention simply cannot move away from self and onto the moment.

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