Absolutely. I have been using Adler's technique along with method to approach the character. And that too as an amateur self-taught actor with out knowing any of the techniques prior.
I like the idea of using imagination, that's what helps me the most as an actor. Emotional memory can be limiting, if you're someone with a limited amount of experiences romantically, in terms of tragedies, etc. I have a huge capacity for empathy and empathizing with what Ive imagined. However, I've always practiced the philosophy of doing whatever works, I'm not married to any acting style, and alternate between method, classical, Adler and Meisner , sometimes using all within one page of script.
I've been researching all types of methods. Adlers is the only one I don't understand. What are the core values? Emotional recall or imagination? I only asked because I saw you had first hand experience. (I really wanna know what's right for me)
The point of Emotional memory is to use it and enhance it with imagination lol so it isn't limiting at all if anything it helps to understand the character situation even more
Hi chaps, as a British actor now for some 30yrs l still find inspiration and interesting content in videos and conversations like these, good stuff for the mind, imagination and memory. Thanks
In my opinion the only thing these techniques do are inspire thought on the craft. You utilize the teachings to reach places you've never been able to touch before and develop your own sense of comfort when it comes to 'being'. We take what we need and forget the rest. Everyone is different and some things don't work well with others but regardless I don't think technique should have as much emphasis on the craft as it does. It is only a means of reaching places that you wouldn't otherwise be able to reach and then gives you a emotional / sensory memory to return to or strive for. Contemplate the teachings and you can start to see that everyone is saying the same thing but it's all translated very differently for all walks of life to interpret. You may not understand Stanislavsky, but you may understand Chekov. Same applies with Stella, Sandy or Strasberg. Just my thoughts though.
I watched Tom Cruise Inside the Actors Studio. He mentioned he learned the Meisner method. I always heard of Method acting never Meisner. I had to look it up and learn about it. Thank You for showing the difference I get it now.
bro in these two techniques in which technique the actor transforms into the character and think like the character and act naturally like the character.please reply me bro
A really great technique/approach is one that gets an actor out of his/her comfort zone and also doesn't fall into the trap of cliched acting which occurs through sticking to the script too literally and as a result suppresses imaginative possibilities.
I am currently a student of the Strasberg method at the Mulholland Academy in Amsterdam which teaches both ways. I find that the concept of the emotional memory is very misunderstood by many. You do not rely on a specific memory to create an emotion. You train yourself in reaching depths you've otherwise coudn't to create truth. To emerge yourself in what the character is going through, and relate it to personal experiences, and in the procces of it, making it real. Afterwhich you can easily put it away and if required, do it again. Sense memory exercises help you reach (or at least in my case) parts of yourself that i would have otherwise never been able to find and controle. Acting is experiencing and both ways work for me. I use Meisner for specific things and Strasberg for other things. With a great deal of imagination, there are no limits in where both ways can take you.
@@MrCharlieTurbo I agree with your statement, but not it's subtext. Method acting is not therapy but you do discover things about yourself that would have otherwise remained hidden. In creating a character you do not become the person but the character becomes you. At the end of the day you can never become someone els, but the mannerisms, way of thinking, life choices, movement etc of the character are things you must find in yourself to truthfully portray the character. The strasberg method has taught me how to find these specific things within my being. Acting is a rather personal business and you must give something of yourself to get something back in the form of a character. If that is at all therapeutic to you than so be it. As long as you don't hurt yourself. There are many ways to approach a character but it'll always require something from you, hence the option to discover what you can use from within through certain method acting styles.
@@geoffreyalkemade That's completely opposite to Stanislavsky later period and the master teacher of them all Michael Chekhov's process. Transformation into character is the key. The rest is playing yourself, self indulgent and tunnel vision acting. Unfortunately young actors growing up with social media have made the understating of the technique (craft) of acting worse. It's not about you, it's about the character. You become the character. The character was written by a writer, that character doesn't exist until you start playing the character with those given circumstances and bringing it to life. That's called transformation (Michale Chekhov). If you want to excavate the actors past life, baggage and emotional blocs then there are trained professionals to deal with those traumas. Acting teaching does not give you the license to pry into someone personal life. This may make the actor fell good (attention) and give the teacher insight (power), but it's dangerous. As we all know why Strasberg's now defunct and archaic technique is (should be) put out into the pasture of history and forgotten. Stella Adler was all over this and way above the rest.
@@MrCharlieTurbo Before i respond to your points i wish to ask if you have tried strasberg yourself and used it in practice, or only read up on it in? I for example have studied strasberg and put it into practice, as have i done with chubbuck, meisner and a classic theatre approach. I've read up on Adler, Chechov and Stanislavsky's bio but never practiced with it. So i know the good and the bad from the surface but i've always approached the craft with the mentality that there is no one way of doing things, and different techniques work for different people. I always like to think that i'm doing things like Bruce Lee, who has been taught classic wing chung by Ip Man, but improved and refined a personal usage and technique with further exploration and training, which eventually became his own style. I take from Strasberg, Meisner, Chubbuck and all the training i received, and use what i find useful. I know Strasberg was a funny little man with a god complex, and Adler hated his guts. I know the history of what everone considers great teachers. But at the end of the day they were all human, and humans are flaud. Strasberg messed up Monroe while she wasn't ready and under intense pressure for example. That doesn't take away from the fact that the teachings themselves have been proven to work under the right circumstances and dedicated training. If you just want to call strasberg an outdated model than that goes for all the teaching from that period, as it is based on how people were in those times. All those teachers took the idea of stanislavsky and molded it to their own liking and perspective. But the groundwork still remains the same, and with the stanislavsky methods, you can not walk away from the fact that you have to use your internal instrument and use your feelings and impulses, and to simplify, you as a being to truthfully portray your character. And Strasberg gave me a tool to control these factors. I can't say i agree with your vision on being a character, though if it works for you to think that way i'd say keep going in that direction! Again, there is not just one way of doing things, and different styles work for different people. If i take the cliché example of method actors of our time like daniel day lewis and christian bale; they are known for intense prep and character work before they start shooting. But when they get in character, they are still Daniel and Christian. That's why they call it getting ''in'' character, and not becoming the character. Wether they stay in character or get out of it when the director says cut, they can't become someone els. Your being does not become something els. Your mannerism, your thoughts, your listening and moving, and every characteristic of the character you have intensely studied has slipped it's way in your creation of the character within you. But your being doesn't change into something els, as it just can't. Social media has indeed tunnelvisioned things quite a bit! Everyone feels rather special and unique these days, and we've all become quite sensative. My advise for anyone who wishes to pursue a method based training is to first read up on it before getting into it. Read up on the teacher and how he or she approaches the style (the teacher who you're going to train with that is). And if you feel you're getting to a place where you don't want to be, then take a step back and re-evaluate if this is for you, as it is certainly not to everyones liking. Meryl Streep has mentioned she didn't agree with how you call it, the excavating. But acting lessons are intensely personal, as it's a very personal business and craft. Doesn't take away from the fact that it might be right or wrong within any other profession. But you have to realise that any technique, any method, any approach will always require personal imput, and one requires more than the other. As you go along and you experience different styles, choose which feels right and craft your technique.
When I finally understood what Stanislavski had in mind for his "method" I didnt think it could carry an actor through every role. It maybe useful in some scenes but how can emotional memory sustain an entire performance? It has to be the imagination of the actor. I also dont think that the actor is ever portraying "someone else." The actor is always portraying an "aspect" of themselves.
Exactly what I was looking for. I have just started out and was confused between the two methods. It's like reaching the same destination but you don't have to choose one road exclusively. Thank you so much for this!
I'm currently attending an "on-screen techniques" weekend course here in Tampa, and my instructor takes the exact same ideology. This was eerie to hear just how similar you two are! I look forward to developing my skill in the humble Meisner method. Thank you for posting your wisdom.
hey chris, i'm sorry for the delay in responding but a setting was turned off so i never saw this till now - and thank you for taking the time to watch this and for responding and so glad something resonated with you! - jim
A great account of the differences between Lee and Sandy, their respective techniques, and how they developed! Thanks for giving the due respect to Lee Strasberg, even though you are a 'Meisner guy'!
I've studied Meisner and Adler to Supliment my Strasberg training. Both initial interviews started with them bashing Strasberg (they had no idea of my background). I also belong to a classical Shakespearean company, and the director is always stressing that we don't do "Methodist" acting here. In reality, inner work and personalization of the actors would truly help their Productions. Even my great improv teacher believes Strasberg is not useful in ensemble improv work. He says it's only useful if you are playing a lead character. I disagree with him on that, too. Strasberg's work is very exploratory with true improv aspects to it, and it supplements ensemble work beautifully. All the Group Theater desended teachers' techniques have great value and work beautifully together.
Fantastic video, thank you. As a child creating and acting in scenarios with friends, we were practicing the Meisner Technique and didn't even know it. I was usually the nefarious Spy or Villain lol...😎
Been watching these videos in Kentucky. I saw you speak several times at Playhouse West and saw your Meisner show a couple times there. Until I get back to LA and back in Playhouse, these videos are great watch and rewatch. Thanks for putting them together!
I use what helps to me, nobody knows me like i know myself. I can listen advices and everything but i am the only one who knows what really works for me.:)
The use of emotional memory can be a way to get there though, a technique in preparation. You don't have to draw on it specifically in a performance like that!
hi tom, absolutely the truth - the problem sandy experienced when the method first arrived and was being taught in the group and then over the years was how often it was used to draw on in the middle of a performance and how it then (sandy's words) "introverted the introverted" - my best, jim
I'm looking forward to learning more about this technique and developing over time. I wish I could take the classes, but not possible at the moment - but I'm saving up and watching whatever you guys post for now. Thank you!
Exactly! Lee Strasberg, Stella Adler, and etc. they were great teachers and actors/actresses. I respect them and think they definitely deserve people's respect. But it dose not necessarily mean their acting methods fit all of the actors in the world. Thats never gonna happen. So as he says in this video, use whatever works! Pick up elements that fit you! But at the same time you gotta know what they are.
hi shunsaku, thanks for taking the time to share your thoughts - you're greatly appreciated and this was one of the MANY great things about sandy - he had zero ego when it came to "his way" - whatever works!
How to do method acting i know stanslovaski technique and used it if i am him technique but i dont know method acting i need to select which is good for me
All teachers are great in India we call teachers ( guru) and have huge amount of respect here for teachers .. every acting teacher method is best at it's own but for anyone pro here who is been through all western methods and Wana try something different and new read parsana Indian method of acting.. and natyashastra.. and after that come here and reply in comment how did it worked.. thank you very much 😊
Bruce Lee's philosophy was to study everything you can and whatever works for you, incorporate it into your style. If it doesn't work for you discard it. "Use no way as your way, have no limitation as your limitation". If you only have one way of working that one way becomes your limitation. I'm limited to the Meisner approach because it is the healthiest approach to acting, I have PTSD and I don't think Method is a good idea for ANYONE that has PTSD because it forces you to recall (to trigger) traumatic memories from your past. Dustin Hoffman had a nervous breakdown after performing in "Death of a Salesman" on Broadway for six months. Sandy was a genius.
I still have no clue what the difference is and I listened carefully. That is the problem with most acting teachers, which is they use a bunch of fancy word salads without saying anything that is practical and a problem with so many youtube videos that claim to "answer" questions. His answer was "whatever works." What the hell does that even mean when you are trying to tell us the difference between two techniques?
hi media, thank you for watching and i'm sorry you felt it made no sense and there's was "nothing there" for you. as far as my using the phrase, "whatever works" those were actually sandy's words on this topic and i was quoting him - take out of context i appreciate it may seem worthless but for those that read this and watch the entire video, hopefully it will make sense - please let me know if i can clarify anything else - jim
@@TheMeisnerTechniqueStudio Thanks for the response to my harsh critique. It's easy for people to delete negative comments so I appreciate your response. However, just because you quote someone doesn't mean that cleared up the confusion. It was worthless because you have a title saying the DIFFERENCE, but you don't explain the difference and they you "quote" Sandy's "whatever works." That's like saying I'm gonna tell you about a great diet for you, without telling me what it is, and then just saying whatever diet works for you. Like I said, it's word salad.
@@MediaBuster hi again, so i have a rule which is to never engage in a back and forth more than twice so this will be my last response - if you'd like to ever talk further i'd be happy to and you can reach me at my studio - themeisnertechniiquestudioo.com -that said, i LOVE your response and think you're funny actually. I do disagreee when you say there's nothing there because i make it clear that the MAJOR difference between sandy's approach and the method is emotional memory verses what sandy believed was more much healthier and more valuable - a childlike imagination. that is THE major difference between the two approaches BUT for some people, they love emotional memory as a process and so sandy said, "whatever works, use it." that too is not nothing. that's one of the world's greatest acting teachers on full display of no ego or attachment to "his way" unlike so many teachers who are autocratic about their approach. Again, i'm sorry it feels like nothing to you but to me, there's actually a great deal there. my best to you - jim
hi martina, my name is jim jarrett and i am founder/director of the meisner technique studio in san francisco - themeisnertechniquestudio.com - thank you for the kind words and let me know if i can ever help you - my best, jim
So true. Sandy used to always highlight "freakish concentration" as one of the most important ingredients in becoming an actor. This, alongside the abilities to be highly sensitive and to access a childlike imagination is a rare combination
thank you for this and yes, we're ALL standing on the shoulders of anyone who inspired us. sandy had VERY clear thoughts about Michael Chekhov - much he agreed with and much he didn't
Group Theatre members were also influenced by Richard Boleslavsky and Maria Ouspenkaya. Also, many people are not aware of the fact that Stella Adler studied with Stanislavsky for several weeks in Paris.
Don’t think the point of sense memory is to retain the experience of the past, but to learn to channel an experience that is created in the moment. Using the choice of a specific memory to respond to an imaginary set of circumstances, which then assist a character assisting an actor.
hi jonah, thank you for taking the time to watch this and especially for taking the time to share your thoughts - and i agree 1000% re: sense memory. i did mention sense memory while talking about emotional memory and didn't mean to lump them together or cause confusion - again thank you and my very best to you, jim
The title of the video is slightly misleading because it doesn't really say what the differences are. It just says that there are some and gives a historical context :/
Imagination as the most important ingredient in acting is beyond dispute but it needs to be tethered to a good instrument and that is essentially what we actors are. How we get our instruments in shape to channel and express that imagination is the major challenge.
hi richard, thank you so much for watching this and for taking the time to share this as well. and i agree 1000% and so did sandy. he used to say, "to be a world-class actor you need a world class instrument to play and YOU are that instrument."
the craft of acting has matured and evolved greatly from the 40's and so has every other aspect of film acting - from the director, sound, cinematographers, editing etc - plus the sharing of film acting craft amongst oaths via the internet etc - of course, there are some wonderful actors who do beautiful film work from that era BUT these days it is SO much easier to get in front of a camera and to grow as well - make sense?
Question: Wouldn't a person have to have some level of recall to use imagination in performing. As an example if one has never experienced sadness could he/she accurately imagine that emotion? I agree 100% with the child like imagination. Most of us were born great actors with this incredible imagination that unfortunately we let go of over time.
I'm still struggling to choose between Stanislavski, Strasberg or Meisner... I am an acting student i have to choose one out of this three.. If sir you are willing to give me some advice it will be the best!
why feel the need to choose? You will either be naturally drawn to the one that resonates with you or take what you can from all 3 (or more that you haven't named) and use elements of each that ping for you. As wonderful as all these techniques are, it's not one size fits all. Good luck!
hi desdes, passer said it perfectly - trust your gut, audit the classes and try and take from the most legitimate and very best so you're getting the teachings from a pure source BUT just because someone is "a famous teacher" don't go by that. are the humble, knowledgable and truly there to serve? if yes to this then you'll be in good hands - my best, jim
I know this question is pretty old, but I still want to say something that I think is relevant: these methods have been used by many good actors, and they are all worked out well. I think that what really makes a difference is finding a good teacher, not the method in itself that the teacher uses. And by "a good teacher" I mean the one that understands your needs and your "blocks", and work on them. The most important thing for an actor is to be able to live a situation truthfully, turning off your "judging" mind. A good teacher will understand what blocks you, and make you work on it. How? That's not really relevant, as long as it works. Personally, I think Meisner has helped me not only in acting (my career is still ridiculously small) but also in writing and in life in general. But I also found things like animal etudes (Strasberg) fun to do, and useful to learn how to see things from a different perspective. If I had to act the the Godfather, no doubt I will start by seeing things for the point of view of a Gorilla :D And I find Chekhov extremely useful for "getting into the mood" before the scene starts. Don't let me choose. I won't.
There is another way too. The English technique of Form. Diction, energy and pace. Playing the house. A perfect scenario for a stage actor is a mix of content and form. Internal & external. Truth & performance
How to do method acting i know stanslovaski technique and used it if i am him technique but i dont know method acting i need to select which is good for me
@@rahull5728 hi rahul, my best advice is to research as much as you can and audit where you can the different approaches and then from there, trust your gut - my best, jim
@@TheMeisnerTechniqueStudio YOU are a Teacher correct? Then why are you writing like an 11 year old? NOT Capitalizing a name like Rosa? You write with a little "i" instead of a Capital I... You did NOT Capitalize ANY words that should have been Capitalized. You even sign your name with a small "j" .... instead of Jim??!! I have NEVER seen a Teacher write like an elementary child...
Sense memory is specifically is about training your imagination and your senses to respond to the stimuli of the scene. The method at least these days does not require you to revisit trauma and even Lee said it should be at least 7 years old. I have found Method makes you open Meisner tunes you into your partner and helps you live in the moment. Method helps you create a character.
Thank you for watching! The Meisner Technique delves heavily into character in second year training, but, as you accurately pointed out, does not rely on personal memories. The focus is instead on imagination. However, these differences are exactly why we encourage actors to pursue whatever technique works for them!
I guess my second question would be, how do you bring yourself to a character when the character is not like you? For example Al Pacino in Scarface, if he brings his own emotions to the performance and then couples it with a bunch of mechanical aspects to create his character, how does he remain himself when all these mechanical things he does is not really from HIS character! Sorry for the long read! Just been a question on my mind which im trying to get past to better myself in the technique.
hi movie, the answer is simple but hard-earned. it's called craft. it's called world-class training that gives you the foundation and tool kit to be able to bridge the gap between who you are and what comes naturally to a "character" that is extremely different from your natural self. there's so much more to this answer but it would require a very long conversation - i hope this little but helps, jim
+The Meisner Technique Studio it does definitely! Thank you for taking the time to reply, my conclusion is I'm going to dedicate my attention fully to studying and becoming more skilled especially through the Meisner technique!
please tell me in which acting technique[meisner or method] the actor transformed as the character and thinks like the character and act naturally [live truthfully to the character].please reply me
he said i don't teach the Stanislavski System I teach my Method. He basically rebranded so he could do what he wanted and to be fair it was working in some ways.
hi cyn, i'm sorry for the delay in responding but a setting was turned off so i never saw this till now - and thank you for taking the time to watch this and for responding - my best to you, jim
Read the chapter on Lee Strasberg in Frank Langella's new book, DROPPED NAMES: Famous Men and Women As I Knew Them. Langella pretty much sums up the disenchantment with Strasberg that is shared by many people in the profession. Of course, I'm biased having studied with Sandy for years. My introduction to Strasberg's "Method" was not a very pleasant experience. While I would never presume to dismiss it out of hand, my feeling about the matter is that it is becoming passe.
I was once in a community play and before the class started I thought I'd be a natural because I'm a very funny and witty person. WRONG. Hardest thing I ever did and felt fake the whole time....Guess I need classes first lol. I don't know how some actresses can memorize all those lines like the nurse on Nurse Jackie. How do they do this????
Thank you for a well-explained video. By the way, I am going to have a talk about stage acting applied to bible or gospel stories with adults, and I think the Meisner Technique best suited for it. Do you agree,Mr.Jarrett?
hi mayan, please call me jim and i'm not sure how you are going to apply the work to gospel stories but as sandy would always say, "you can't fake real" so just have them be as honest as possible and not "just read." make sense?
Hi! I'm sorry for the delay but I'm just seeing this. This was shot at my acting school in San Francisco -The Meisner Technique Studio - themeisnertechniquestudio.com
Put on the clothes. Say the lines adding some of you until you have a " marriage" But then the point of view is all you need and give it to your partner. Remember. You are telling a story of something and someone. You are not attending an acting class for approval. If you can't tell the story, work in accounting. We need more there.
hi marie, thank you for taking the time to watch this and especially for taking the time to share this with us. sandy believed that imagination was talent and no doubt, some have more of that along with freedom than others but the profession is riddled with people who have "it" and no careers and people who have way less of "it" who work like crazy - for the rest of you, don't let anyone define you this way - you are either going to do this or you or not and along the way there will be SO many people who will tell you you don't have "it" or that you do - in the end what they say does not matter unless you allow it
.. just read Meisner's book.. one asked about Lee Strasberg.. Meisner said he was a terrible actor.. also mentioned known celebrities were invited by Lee Strasberg to his studio in which he seen talent in and later said that those were his students which were not trained by him.. Stella also said Lee is a fake.. im hesitant purchasing any books by Strasberg.
I once took an acting class here in Tampa Bay FL and our coach was in the original HAIRSPRAY but I hated her method. She made us lay on the floor and moan. Never again.
hey joaquim - that's so funny. when i was in la and working my way up the food chain i'd hear that all the time! it's been awhile though - i think i've gotten older than him even though he's older than me!
In his book that documents a class he taught, though, he was pretty hard line about his way being the only real way to learn acting, and everything else was for chumps. Maybe that was just a bad class.
hi zc - thank you for watching this and for reaching out and sharing this with me. as far as your mention of the book, that was written in the class ahead of mine and i know the content of the book well but don't remember this section - can you give me the page # so i can respond properly? my thanks in advance, jim
thank you again for your post and actually, sandy's influence came from two other sources entirely but i'm sure that mr. checkhov's brilliance contributed as well.
Trying to explain what Meisner and Strasberg were trying to do is like trying to explain what Shakespeare was trying to do. Unless you actually studied under Meisner, you wouldn't really know what his technique was because it was constantly Morphing as he taught it as he was trying to improve upon it (as he should have been). Unfortunately, Meisner is dead and so is his technique. He would undoubtedly roll over in his grave if he knew how much people were using his old worn and not complete lessons 50 years after his passing. Strasberg, Adler and Meisner all were trying to perfect and simplify acting based on their understanding of Konstantin Stanislawski's technique and so to carry on teaching exactly what they taught years later without any attempt to improve or further simplify is just superficial plagiarism at best, and simply exploits the incomplete works of dead people based on their reputations since most of today's acting teachers are too lazy or scared to come up with their own technique.
hi David, Thank you so much for your comments in perspective. I spent a total of six years studying with Sandy - two as a student, two more as his apprentice and the final two more mentoring under him and emerging is his last teaching protégé from the years 1987 to 1993. Ans although I disagree with you perspective and opinions - and especially that Sandy’s approach died with him - I wish you nothing but the very best as it’s clear whatever is working for you is working well. I’m sending you my very best, Jim
I don't think you are clear about the method. The definition of acting is to live truthfully in the imaginary circumstances. The memories create a real response that deepens wan't and needs inside of us that gives things a real value. I don't care how good your imagination is, if you pretend something is personal to you instead of using sensory work it will never have real value and consequences. Many people talk about the method but they usually have a false understanding of what it is.
hi victor, thank you for sharing this but your comment, " I don't care how good your imagination is, if you pretend something is personal to you instead of using sensory work it will never have real value and consequences" is something i couldn't disagree with more. but that's ok, we just disagree - my best to you, jim
Method Acting is best left for those that like the Raw and in your face style. Meisner is more for the Snowflake that has been sheltered and has not enough emotional quotient to act. Method Acting equals Real, Meisner equals fabricated lies that look good or passable to the audience. Both are great but if you have no emotional quotient than stick with Meisner. Alpha and Beta, Alpha and Beta....
The Meisner Technique Studio You are welcome. I based the comment in this belief: Method is like Chess and Meisner is like Checkers. One requires critical thought and dedication the other just acts. As long as they sell the venue or whatnot its okay but I like authenticity. Cheerio.
Hi - I don't know where you were exposed to Sandy's teachings or taught by whom but if you're ever in San Francisco I'd love to have you stop by and see what the technique is truly all about. You're summery earlier is really funny but really inaccurate I promise you. But again, you're very funny. And if you choose to respond please do but this will be my last one but my offer stands and is an open-ended one, too. My very to you, Jim
The Meisner Technique Studio sorry for the late reply I have been rehearsing for a college play called The Destroyers. You may find a link to observe me on www.swcteathre.com for the Zoom link. I hope 🤞to hear from you. Cheerio 👋
"whatever works, use it."
Hi Nils, thank you!
Absolutely. I have been using Adler's technique along with method to approach the character. And that too as an amateur self-taught actor with out knowing any of the techniques prior.
Perfect way to end it. "Whatever works." Push all labels aside and do what you got to do. Great video!
I like the idea of using imagination, that's what helps me the most as an actor. Emotional memory can be limiting, if you're someone with a limited amount of experiences romantically, in terms of tragedies, etc. I have a huge capacity for empathy and empathizing with what Ive imagined. However, I've always practiced the philosophy of doing whatever works, I'm not married to any acting style, and alternate between method, classical, Adler and Meisner , sometimes using all within one page of script.
hi rosanna - thanks for watching and especially for taking a moment to share your thoughts!
I've been researching all types of methods. Adlers is the only one I don't understand. What are the core values? Emotional recall or imagination? I only asked because I saw you had first hand experience. (I really wanna know what's right for me)
@@wb6945 of everything I've read, Adler was all about using your imagination. She hated strasberg's idea of using your past memory.
The point of Emotional memory is to use it and enhance it with imagination lol so it isn't limiting at all if anything it helps to understand the character situation even more
InstaBlaster.
I studied the American Method back in college, but I agree with your open-minded points 100%. You're clearly a great teacher yourself!
hi leon, thank you for the kind words and i greatly appreciate you even taking the time to watch and to share your thoughts - my best to you, jim
Hi chaps, as a British actor now for some 30yrs l still find inspiration and interesting content in videos and conversations like these, good stuff for the mind, imagination and memory.
Thanks
hey inky, cool and thank you for taking time to watch and share your thoughts
Imagination is key
yes it is!
I am blessed to have had you as a teacher at Academy of Art .
Thank you for giving so much humanity to our work !
In my opinion the only thing these techniques do are inspire thought on the craft. You utilize the teachings to reach places you've never been able to touch before and develop your own sense of comfort when it comes to 'being'. We take what we need and forget the rest. Everyone is different and some things don't work well with others but regardless I don't think technique should have as much emphasis on the craft as it does. It is only a means of reaching places that you wouldn't otherwise be able to reach and then gives you a emotional / sensory memory to return to or strive for. Contemplate the teachings and you can start to see that everyone is saying the same thing but it's all translated very differently for all walks of life to interpret. You may not understand Stanislavsky, but you may understand Chekov. Same applies with Stella, Sandy or Strasberg. Just my thoughts though.
I couldn't agree more! Thank you!
Absolutely!
I watched Tom Cruise Inside the Actors Studio. He mentioned he learned the Meisner method. I always heard of Method acting never Meisner. I had to look it up and learn about it. Thank You for showing the difference I get it now.
cool shawna!
"Meisner Method" is an oxymoron. Meisner and Method are two different ways of working.
bro in these two techniques in which technique the actor transforms into the character and think like the character and act naturally like the character.please reply me bro
A really great technique/approach is one that gets an actor out of his/her comfort zone and also doesn't fall into the trap of cliched acting which occurs through sticking to the script too literally and as a result suppresses imaginative possibilities.
i couldn't agree more!
Child like imagination ...!! that is the key to perform well ..!! thanks alot ..!! thanks
hi omkar, as sandy always said, "none of this is real so a childlike imagination is THE most important quality for an actor!" thanks for watching, jim
I am currently a student of the Strasberg method at the Mulholland Academy in Amsterdam which teaches both ways. I find that the concept of the emotional memory is very misunderstood by many. You do not rely on a specific memory to create an emotion. You train yourself in reaching depths you've otherwise coudn't to create truth. To emerge yourself in what the character is going through, and relate it to personal experiences, and in the procces of it, making it real. Afterwhich you can easily put it away and if required, do it again. Sense memory exercises help you reach (or at least in my case) parts of yourself that i would have otherwise never been able to find and controle. Acting is experiencing and both ways work for me. I use Meisner for specific things and Strasberg for other things. With a great deal of imagination, there are no limits in where both ways can take you.
That's called therapy. You study acting to play characters not yourself.
@@MrCharlieTurbo I agree with your statement, but not it's subtext. Method acting is not therapy but you do discover things about yourself that would have otherwise remained hidden. In creating a character you do not become the person but the character becomes you. At the end of the day you can never become someone els, but the mannerisms, way of thinking, life choices, movement etc of the character are things you must find in yourself to truthfully portray the character. The strasberg method has taught me how to find these specific things within my being. Acting is a rather personal business and you must give something of yourself to get something back in the form of a character. If that is at all therapeutic to you than so be it. As long as you don't hurt yourself. There are many ways to approach a character but it'll always require something from you, hence the option to discover what you can use from within through certain method acting styles.
@@geoffreyalkemade That's completely opposite to Stanislavsky later period and the master teacher of them all Michael Chekhov's process. Transformation into character is the key. The rest is playing yourself, self indulgent and tunnel vision acting. Unfortunately young actors growing up with social media have made the understating of the technique (craft) of acting worse. It's not about you, it's about the character. You become the character. The character was written by a writer, that character doesn't exist until you start playing the character with those given circumstances and bringing it to life. That's called transformation (Michale Chekhov). If you want to excavate the actors past life, baggage and emotional blocs then there are trained professionals to deal with those traumas. Acting teaching does not give you the license to pry into someone personal life. This may make the actor fell good (attention) and give the teacher insight (power), but it's dangerous. As we all know why Strasberg's now defunct and archaic technique is (should be) put out into the pasture of history and forgotten.
Stella Adler was all over this and way above the rest.
@@MrCharlieTurbo Before i respond to your points i wish to ask if you have tried strasberg yourself and used it in practice, or only read up on it in? I for example have studied strasberg and put it into practice, as have i done with chubbuck, meisner and a classic theatre approach. I've read up on Adler, Chechov and Stanislavsky's bio but never practiced with it. So i know the good and the bad from the surface but i've always approached the craft with the mentality that there is no one way of doing things, and different techniques work for different people. I always like to think that i'm doing things like Bruce Lee, who has been taught classic wing chung by Ip Man, but improved and refined a personal usage and technique with further exploration and training, which eventually became his own style. I take from Strasberg, Meisner, Chubbuck and all the training i received, and use what i find useful. I know Strasberg was a funny little man with a god complex, and Adler hated his guts. I know the history of what everone considers great teachers. But at the end of the day they were all human, and humans are flaud. Strasberg messed up Monroe while she wasn't ready and under intense pressure for example. That doesn't take away from the fact that the teachings themselves have been proven to work under the right circumstances and dedicated training. If you just want to call strasberg an outdated model than that goes for all the teaching from that period, as it is based on how people were in those times. All those teachers took the idea of stanislavsky and molded it to their own liking and perspective. But the groundwork still remains the same, and with the stanislavsky methods, you can not walk away from the fact that you have to use your internal instrument and use your feelings and impulses, and to simplify, you as a being to truthfully portray your character. And Strasberg gave me a tool to control these factors. I can't say i agree with your vision on being a character, though if it works for you to think that way i'd say keep going in that direction! Again, there is not just one way of doing things, and different styles work for different people. If i take the cliché example of method actors of our time like daniel day lewis and christian bale; they are known for intense prep and character work before they start shooting. But when they get in character, they are still Daniel and Christian. That's why they call it getting ''in'' character, and not becoming the character. Wether they stay in character or get out of it when the director says cut, they can't become someone els. Your being does not become something els. Your mannerism, your thoughts, your listening and moving, and every characteristic of the character you have intensely studied has slipped it's way in your creation of the character within you. But your being doesn't change into something els, as it just can't. Social media has indeed tunnelvisioned things quite a bit! Everyone feels rather special and unique these days, and we've all become quite sensative. My advise for anyone who wishes to pursue a method based training is to first read up on it before getting into it. Read up on the teacher and how he or she approaches the style (the teacher who you're going to train with that is). And if you feel you're getting to a place where you don't want to be, then take a step back and re-evaluate if this is for you, as it is certainly not to everyones liking. Meryl Streep has mentioned she didn't agree with how you call it, the excavating. But acting lessons are intensely personal, as it's a very personal business and craft. Doesn't take away from the fact that it might be right or wrong within any other profession. But you have to realise that any technique, any method, any approach will always require personal imput, and one requires more than the other. As you go along and you experience different styles, choose which feels right and craft your technique.
When I finally understood what Stanislavski had in mind for his "method" I didnt think it could carry an actor through every role. It maybe useful in some scenes but how can emotional memory sustain an entire performance? It has to be the imagination of the actor. I also dont think that the actor is ever portraying "someone else." The actor is always portraying an "aspect" of themselves.
Exactly what I was looking for. I have just started out and was confused between the two methods.
It's like reaching the same destination but you don't have to choose one road exclusively.
Thank you so much for this!
hi abhi, you are welcome and as sandy always said, "whatever works, use it."
Excellent Video...
Thank you for sharing this...
hi judi, thank YOU - jim
I'm currently attending an "on-screen techniques" weekend course here in Tampa, and my instructor takes the exact same ideology. This was eerie to hear just how similar you two are! I look forward to developing my skill in the humble Meisner method. Thank you for posting your wisdom.
hey chris, i'm sorry for the delay in responding but a setting was turned off so i never saw this till now - and thank you for taking the time to watch this and for responding and so glad something resonated with you! - jim
A great account of the differences between Lee and Sandy, their respective techniques, and how they developed! Thanks for giving the due respect to Lee Strasberg, even though you are a 'Meisner guy'!
hi alym, thank you! lee was a master as well!
Strasberg destroyed American acting for 40 years. Read Larry Moss, Stella Adler and the real Stanislavsky (Jean Benedetti translation).
I've studied Meisner and Adler to Supliment my Strasberg training. Both initial interviews started with them bashing Strasberg (they had no idea of my background). I also belong to a classical Shakespearean company, and the director is always stressing that we don't do "Methodist" acting here. In reality, inner work and personalization of the actors would truly help their Productions. Even my great improv teacher believes Strasberg is not useful in ensemble improv work. He says it's only useful if you are playing a lead character. I disagree with him on that, too. Strasberg's work is very exploratory with true improv aspects to it, and it supplements ensemble work beautifully. All the Group Theater desended teachers' techniques have great value and work beautifully together.
Fantastic video, thank you. As a child creating and acting in scenarios with friends, we were practicing the Meisner Technique and didn't even know it. I was usually the nefarious Spy or Villain lol...😎
hi eddie, thank you for sharing this with me and for taking the time to even watch this! i am sending you my very best, jim
Been watching these videos in Kentucky. I saw you speak several times at Playhouse West and saw your Meisner show a couple times there. Until I get back to LA and back in Playhouse, these videos are great watch and rewatch. Thanks for putting them together!
Christopher Folan hi christopher, thank you for the kind words and i'm sending you my very best
+The Meisner Technique Studio Dear Meisner Technique Studio man: You are so nice! Refreshing to see. You have a gentle spirit.
+Kristy Swanson - thank you, kristy, that's very kind
I use what helps to me, nobody knows me like i know myself. I can listen advices and everything but i am the only one who knows what really works for me.:)
hi dino, whatever works, use it.
Thnks
The use of emotional memory can be a way to get there though, a technique in preparation. You don't have to draw on it specifically in a performance like that!
hi tom, absolutely the truth - the problem sandy experienced when the method first arrived and was being taught in the group and then over the years was how often it was used to draw on in the middle of a performance and how it then (sandy's words) "introverted the introverted" - my best, jim
Wonderful lesson, sir. With great respect to you.
Wow that's just what I needed THANK YOU!!
hi ahumenangel, i am so happy this somehow helped you. thank you for taking the time to watch and my very best to you
I'm looking forward to learning more about this technique and developing over time. I wish I could take the classes, but not possible at the moment - but I'm saving up and watching whatever you guys post for now. Thank you!
hi elizabeth, thank you for taking the time to watch what we're sharing and i hope it helps you in some way. my very best to you - jim
Damn. I really needed to hear that. I’ve heard Bruce Lee say something very similar in regards to martial arts.
Hi Sampson, Thank you and my very best! Jim
Exactly! Lee Strasberg, Stella Adler, and etc. they were great teachers and actors/actresses. I respect them and think they definitely deserve people's respect. But it dose not necessarily mean their acting methods fit all of the actors in the world. Thats never gonna happen.
So as he says in this video, use whatever works! Pick up elements that fit you! But at the same time you gotta know what they are.
hi shunsaku, thanks for taking the time to share your thoughts - you're greatly appreciated and this was one of the MANY great things about sandy - he had zero ego when it came to "his way" - whatever works!
How to do method acting i know stanslovaski technique and used it if i am him technique but i dont know method acting i need to select which is good for me
Good job. Learn it all and use what works for you.
Hi Randall, Thank you!
You are simply amazing! Good luck with the work you do. Please come to Lithuania to give us a masterclass!
hi danguole, thank you for the kind words and i'd love to come to lithuania so make it happen! - jim
what a wonderful comment and quote! thank you for this
Very insightful... I will be taking a meisner class very soon
hi tracey, i'm glad and thank you for letting me know - best of luck!
@@jimjarrett4706 thank you
@@TREm1990 you are so welcome!
All teachers are great in India we call teachers ( guru) and have huge amount of respect here for teachers .. every acting teacher method is best at it's own but for anyone pro here who is been through all western methods and Wana try something different and new read parsana Indian method of acting.. and natyashastra.. and after that come here and reply in comment how did it worked.. thank you very much 😊
Bruce Lee's philosophy was to study everything you can and whatever works for you, incorporate it into your style. If it doesn't work for you discard it. "Use no way as your way, have no limitation as your limitation". If you only have one way of working that one way becomes your limitation. I'm limited to the Meisner approach because it is the healthiest approach to acting, I have PTSD and I don't think Method is a good idea for ANYONE that has PTSD because it forces you to recall (to trigger) traumatic memories from your past. Dustin Hoffman had a nervous breakdown after performing in "Death of a Salesman" on Broadway for six months. Sandy was a genius.
hi! thank you for watching and sharing and i couldn't agree more with all that you've shared - especially that sandy was a genius! jim
I still have no clue what the difference is and I listened carefully. That is the problem with most acting teachers, which is they use a bunch of fancy word salads without saying anything that is practical and a problem with so many youtube videos that claim to "answer" questions. His answer was "whatever works." What the hell does that even mean when you are trying to tell us the difference between two techniques?
hi media, thank you for watching and i'm sorry you felt it made no sense and there's was "nothing there" for you. as far as my using the phrase, "whatever works" those were actually sandy's words on this topic and i was quoting him - take out of context i appreciate it may seem worthless but for those that read this and watch the entire video, hopefully it will make sense - please let me know if i can clarify anything else - jim
@@TheMeisnerTechniqueStudio Thanks for the response to my harsh critique. It's easy for people to delete negative comments so I appreciate your response. However, just because you quote someone doesn't mean that cleared up the confusion. It was worthless because you have a title saying the DIFFERENCE, but you don't explain the difference and they you "quote" Sandy's "whatever works." That's like saying I'm gonna tell you about a great diet for you, without telling me what it is, and then just saying whatever diet works for you. Like I said, it's word salad.
@@MediaBuster hi again, so i have a rule which is to never engage in a back and forth more than twice so this will be my last response - if you'd like to ever talk further i'd be happy to and you can reach me at my studio - themeisnertechniiquestudioo.com -that said, i LOVE your response and think you're funny actually. I do disagreee when you say there's nothing there because i make it clear that the MAJOR difference between sandy's approach and the method is emotional memory verses what sandy believed was more much healthier and more valuable - a childlike imagination. that is THE major difference between the two approaches BUT for some people, they love emotional memory as a process and so sandy said, "whatever works, use it." that too is not nothing. that's one of the world's greatest acting teachers on full display of no ego or attachment to "his way" unlike so many teachers who are autocratic about their approach. Again, i'm sorry it feels like nothing to you but to me, there's actually a great deal there. my best to you - jim
What’s the name of this teacher? He’s incredible. Very honest and knowing. Does he still teach? If so, where??!!
hi martina, my name is jim jarrett and i am founder/director of the meisner technique studio in san francisco - themeisnertechniquestudio.com - thank you for the kind words and let me know if i can ever help you - my best, jim
This is really good information. Thank you.
hey compton, i'm so glad it helped and let me know if there's anything else i can do for you - jim
Wonderful Video
Thank you for watching!
"I am really curious about one thing: What were you just thinking at 2:44 ?"
Use to think acting is easy... Acting requires sound mental capacity and ability to translate character in a believable manner
So true. Sandy used to always highlight "freakish concentration" as one of the most important ingredients in becoming an actor. This, alongside the abilities to be highly sensitive and to access a childlike imagination is a rare combination
the point nobody talks about is that the american teachers adler, meisner, strasberg also met Michael Chekhov who influenced all of them.
thank you for this and yes, we're ALL standing on the shoulders of anyone who inspired us. sandy had VERY clear thoughts about Michael Chekhov - much he agreed with and much he didn't
Group Theatre members were also influenced by Richard Boleslavsky and Maria Ouspenkaya. Also, many people are not aware of the fact that Stella Adler studied with Stanislavsky for several weeks in Paris.
Don’t think the point of sense memory is to retain the experience of the past, but to learn to channel an experience that is created in the moment. Using the choice of a specific memory to respond to an imaginary set of circumstances, which then assist a character assisting an actor.
hi jonah, thank you for taking the time to watch this and especially for taking the time to share your thoughts - and i agree 1000% re: sense memory. i did mention sense memory while talking about emotional memory and didn't mean to lump them together or cause confusion - again thank you and my very best to you, jim
Thank you Jim!
The title of the video is slightly misleading because it doesn't really say what the differences are. It just says that there are some and gives a historical context :/
Yes, If we can imagine it we can realize it!
right? right! my best to you elaine, jim
thank you and i will for sure!
Imagination as the most important ingredient in acting is beyond dispute but it needs to be tethered to a good instrument and that is essentially what we actors are. How we get our instruments in shape to channel and express that imagination is the major challenge.
hi richard, thank you so much for watching this and for taking the time to share this as well. and i agree 1000% and so did sandy. he used to say, "to be a world-class actor you need a world class instrument to play and YOU are that instrument."
2:14 is the message here.
lol thank you!
i agree, randall
Great! Im going to Hollywood!!
hi ranty, best of luck to you! jim
Request to give subtitle ...Many overseas actors bit problem to understand
What is the actual difference between acting in mid 40s vs acting now? Why is old acting considered to be over acting
the craft of acting has matured and evolved greatly from the 40's and so has every other aspect of film acting - from the director, sound, cinematographers, editing etc - plus the sharing of film acting craft amongst oaths via the internet etc - of course, there are some wonderful actors who do beautiful film work from that era BUT these days it is SO much easier to get in front of a camera and to grow as well - make sense?
He just vocalized exactly how I feel.
+lastofmykind8 - cool! and thank you for being a part of this!
Thank you for this video. This helped a lot.
The Real, thank you! Jim
Question: Wouldn't a person have to have some level of recall to use imagination in performing. As an example if one has never experienced sadness could he/she accurately imagine that emotion? I agree 100% with the child like imagination. Most of us were born great actors with this incredible imagination that unfortunately we let go of over time.
I'm still struggling to choose between Stanislavski, Strasberg or Meisner... I am an acting student i have to choose one out of this three.. If sir you are willing to give me some advice it will be the best!
why feel the need to choose? You will either be naturally drawn to the one that resonates with you or take what you can from all 3 (or more that you haven't named) and use elements of each that ping for you. As wonderful as all these techniques are, it's not one size fits all. Good luck!
Thank you mate for your advice! Now i know! Great to be learning something new from seniors everyday!
hi desdes, passer said it perfectly - trust your gut, audit the classes and try and take from the most legitimate and very best so you're getting the teachings from a pure source BUT just because someone is "a famous teacher" don't go by that. are the humble, knowledgable and truly there to serve? if yes to this then you'll be in good hands - my best, jim
Thank you Sir Jim.
I know this question is pretty old, but I still want to say something that I think is relevant: these methods have been used by many good actors, and they are all worked out well. I think that what really makes a difference is finding a good teacher, not the method in itself that the teacher uses. And by "a good teacher" I mean the one that understands your needs and your "blocks", and work on them. The most important thing for an actor is to be able to live a situation truthfully, turning off your "judging" mind. A good teacher will understand what blocks you, and make you work on it. How? That's not really relevant, as long as it works. Personally, I think Meisner has helped me not only in acting (my career is still ridiculously small) but also in writing and in life in general. But I also found things like animal etudes (Strasberg) fun to do, and useful to learn how to see things from a different perspective. If I had to act the the Godfather, no doubt I will start by seeing things for the point of view of a Gorilla :D And I find Chekhov extremely useful for "getting into the mood" before the scene starts. Don't let me choose. I won't.
There is another way too. The English technique of Form. Diction, energy and pace. Playing the house. A perfect scenario for a stage actor is a mix of content and form. Internal & external. Truth & performance
hi gil, thank you for this and i agree - my best, jim
How to do method acting i know stanslovaski technique and used it if i am him technique but i dont know method acting i need to select which is good for me
@@rahull5728 hi rahul, my best advice is to research as much as you can and audit where you can the different approaches and then from there, trust your gut - my best, jim
Fabulous lecture!
***** thank you rosa - i greatly appreciate you taking the time to watch and especially for taking the time to leave a comment. my best to you - jim
@@TheMeisnerTechniqueStudio
YOU are a Teacher correct?
Then why are you writing like an 11 year old?
NOT Capitalizing a name like Rosa? You write with a little "i" instead of a Capital I...
You did NOT Capitalize ANY words that should have been Capitalized.
You even sign your name with a small "j" .... instead of Jim??!!
I have NEVER seen a Teacher write like an elementary child...
@@JudiChristopher hi judy, i'm sorry the way i write offends you. truly, jim
Sense memory is specifically is about training your imagination and your senses to respond to the stimuli of the scene. The method at least these days does not require you to revisit trauma and even Lee said it should be at least 7 years old. I have found Method makes you open Meisner tunes you into your partner and helps you live in the moment. Method helps you create a character.
Thank you for watching! The Meisner Technique delves heavily into character in second year training, but, as you accurately pointed out, does not rely on personal memories. The focus is instead on imagination. However, these differences are exactly why we encourage actors to pursue whatever technique works for them!
Excellent advice, imagination. Thank you.
Hi Katoness, thank you for checking us out!
Thank you, TMTS.
you are SO welcome kathy
I guess my second question would be, how do you bring yourself to a character when the character is not like you? For example Al Pacino in Scarface, if he brings his own emotions to the performance and then couples it with a bunch of mechanical aspects to create his character, how does he remain himself when all these mechanical things he does is not really from HIS character! Sorry for the long read! Just been a question on my mind which im trying to get past to better myself in the technique.
hi movie, the answer is simple but hard-earned. it's called craft. it's called world-class training that gives you the foundation and tool kit to be able to bridge the gap between who you are and what comes naturally to a "character" that is extremely different from your natural self. there's so much more to this answer but it would require a very long conversation - i hope this little but helps, jim
+The Meisner Technique Studio it does definitely! Thank you for taking the time to reply, my conclusion is I'm going to dedicate my attention fully to studying and becoming more skilled especially through the Meisner technique!
please tell me in which acting technique[meisner or method] the actor transformed as the character and thinks like the character and act naturally [live truthfully to the character].please reply me
Thank you!
Which book is best for method acting ?
Thank you so much sir.
hi ashish, and thank you for taking the time to watch this and my best to you - jim
he said i don't teach the Stanislavski System I teach my Method. He basically rebranded so he could do what he wanted and to be fair it was working in some ways.
he may be speaking nciely but i dint understand the difference at all :-(
This was awesome advice.
hi xavier, thanks for taking the time to check this out and i'm glad it helped you in some way - my best, jim
I love Strasbergs method I just started meisner Training and it's also a great technique amazing but I agreeeee WHATEVER WORKS !!!!!!! Whatever
hi cyn, i'm sorry for the delay in responding but a setting was turned off so i never saw this till now - and thank you for taking the time to watch this and for responding - my best to you, jim
Who are you favourite actors?
Read the chapter on Lee Strasberg in Frank Langella's new book, DROPPED NAMES: Famous Men and Women As I Knew Them. Langella pretty much sums up the disenchantment with Strasberg that is shared by many people in the profession. Of course, I'm biased having studied with Sandy for years. My introduction to Strasberg's "Method" was not a very pleasant experience. While I would never presume to dismiss it out of hand, my feeling about the matter is that it is becoming passe.
Just trust your gut!
how did you do it can you share with me , thank you
Hi, thanks for watching! Which part can we help you with?
Well summed up no right or wrong way - use what works😁
hey paul, right! my best to you, jim
Maybe i missed it but what exactly is the difference between the two? Cause i dont get it. My apologies
Very nice
hi ravindra, thank you for taking the time to even watch
Wonderful
hi christian, thank you!
I was once in a community play and before the class started I thought I'd be a natural because I'm a very funny and witty person. WRONG. Hardest thing I ever did and felt fake the whole time....Guess I need classes first lol. I don't know how some actresses can memorize all those lines like the nurse on Nurse Jackie. How do they do this????
It takes time for sure!
Thank you for a well-explained video. By the way, I am going to have a talk about stage acting applied to bible or gospel stories with adults, and I think the Meisner Technique best suited for it. Do you agree,Mr.Jarrett?
hi mayan, please call me jim and i'm not sure how you are going to apply the work to gospel stories but as sandy would always say, "you can't fake real" so just have them be as honest as possible and not "just read."
make sense?
The teacher awakens what was earned in an “actors” life experiences. Do not gentle into the prep.
what school is or was he speaking at?
Hi! I'm sorry for the delay but I'm just seeing this. This was shot at my acting school in San Francisco -The Meisner Technique Studio - themeisnertechniquestudio.com
😂 😂 😂 I love your energy and you made some great points about my main man Mr Meisner👌
Hi to you! And thank you for the kind words and yes, Sandy was the best!
Put on the clothes. Say the lines adding some of you until you have a " marriage" But then the point of view is all you need and give it to your partner. Remember. You are telling a story of something and someone. You are not attending an acting class for approval. If you can't tell the story, work in accounting. We need more there.
Imagination is super important but let's not pretend acting talent doesn't exist. IMO some have it, some don't.
hi marie, thank you for taking the time to watch this and especially for taking the time to share this with us.
sandy believed that imagination was talent and no doubt, some have more of that along with freedom than others but the profession is riddled with people who have "it" and no careers and people who have way less of "it" who work like crazy - for the rest of you, don't let anyone define you this way - you are either going to do this or you or not and along the way there will be SO many people who will tell you you don't have "it" or that you do - in the end what they say does not matter unless you allow it
thank u
thank YOU!!!
👏👏👏👏👏
👏👏👏
Meisner yes
I'm with ya, Paul
.. just read Meisner's book.. one asked about Lee Strasberg.. Meisner said he was a terrible actor.. also mentioned known celebrities were invited by Lee Strasberg to his studio in which he seen talent in and later said that those were his students which were not trained by him.. Stella also said Lee is a fake.. im hesitant purchasing any books by Strasberg.
I once took an acting class here in Tampa Bay FL and our coach was in the original HAIRSPRAY but I hated her method. She made us lay on the floor and moan. Never again.
I hear ya!
Freakish concentration is what I've seen works for me
anyone sees kevin costner here?
+joaquim machado Little bit yeah
hey joaquim - that's so funny. when i was in la and working my way up the food chain i'd hear that all the time! it's been awhile though - i think i've gotten older than him even though he's older than me!
In his book that documents a class he taught, though, he was pretty hard line about his way being the only real way to learn acting, and everything else was for chumps. Maybe that was just a bad class.
hi zc - thank you for watching this and for reaching out and sharing this with me. as far as your mention of the book, that was written in the class ahead of mine and i know the content of the book well but don't remember this section - can you give me the page # so i can respond properly? my thanks in advance, jim
Meisner was not a lover of Lee Strasberg and the method.
PS meisner got the whole imagination thing from chekhov, in the same vein adler's emphasis on character comes from chekhov too.
thank you again for your post and actually, sandy's influence came from two other sources entirely but i'm sure that mr. checkhov's brilliance contributed as well.
Stella Adler trumps them all. Why? Cause she teaches the real (later stage) Stanislavsky.
hi charlie - thanks for sharing this - stella was wonderful that's for sure - jim
Trying to explain what Meisner and Strasberg were trying to do is like trying to explain what Shakespeare was trying to do. Unless you actually studied under Meisner, you wouldn't really know what his technique was because it was constantly Morphing as he taught it as he was trying to improve upon it (as he should have been).
Unfortunately, Meisner is dead and so is his technique. He would undoubtedly roll over in his grave if he knew how much people were using his old worn and not complete lessons 50 years after his passing. Strasberg, Adler and Meisner all were trying to perfect and simplify acting based on their understanding of Konstantin Stanislawski's technique and so to carry on teaching exactly what they taught years later without any attempt to improve or further simplify is just superficial plagiarism at best, and simply exploits the incomplete works of dead people based on their reputations since most of today's acting teachers are too lazy or scared to come up with their own technique.
hi David,
Thank you so much for your comments in perspective.
I spent a total of six years studying with Sandy - two as a student, two more as his apprentice and the final two more mentoring under him and emerging is his last teaching protégé from the years 1987 to 1993.
Ans although I disagree with you perspective and opinions - and especially that Sandy’s approach died with him - I wish you nothing but the very best as it’s clear whatever is working for you is working well.
I’m sending you my very best, Jim
Mispronounced “matures” but okay otherwise.
I don't think you are clear about the method. The definition of acting is to live truthfully in the imaginary circumstances. The memories create a real response that deepens wan't and needs inside of us that gives things a real value. I don't care how good your imagination is, if you pretend something is personal to you instead of using sensory work it will never have real value and consequences. Many people talk about the method but they usually have a false understanding of what it is.
hi victor, thank you for sharing this but your comment, " I don't care how good your imagination is, if you pretend something is personal to you instead of using sensory work it will never have real value and consequences" is something i couldn't disagree with more. but that's ok, we just disagree - my best to you, jim
Method Acting is best left for those that like the Raw and in your face style. Meisner is more for the Snowflake that has been sheltered and has not enough emotional quotient to act. Method Acting equals Real, Meisner equals fabricated lies that look good or passable to the audience. Both are great but if you have no emotional quotient than stick with Meisner. Alpha and Beta, Alpha and Beta....
hi michael, thank you for taking the time to watch and to post your comments, opinions, and insights. i wish you the very best, jim
The Meisner Technique Studio You are welcome. I based the comment in this belief: Method is like Chess and Meisner is like Checkers. One requires critical thought and dedication the other just acts. As long as they sell the venue or whatnot its okay but I like authenticity. Cheerio.
Hi - I don't know where you were exposed to Sandy's teachings or taught by whom but if you're ever in San Francisco I'd love to have you stop by and see what the technique is truly all about.
You're summery earlier is really funny but really inaccurate I promise you.
But again, you're very funny.
And if you choose to respond please do but this will be my last one but my offer stands and is an open-ended one, too. My very to you, Jim
The Meisner Technique Studio sorry for the late reply I have been rehearsing for a college play called The Destroyers. You may find a link to observe me on www.swcteathre.com for the Zoom link. I hope 🤞to hear from you. Cheerio 👋
Thanks. Learned nothing
hi newman, i am so sorry you didn't get anything from this but wish you nothing but the very best - jim
Thank you so much sir.....