Using the Meisner Technique to Create a Character
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- čas přidán 8. 08. 2024
- We received a ton of questions about the concept of building a character, so we are highlighting some of the key features of the Meisner Technique, when it comes to creating a character.
I love the fact you said “earn the character”. It really is earned
Hello, I'm very new to acting and the last part of this video is exactly why I want to act. It really spoke to me with the different parts of your personality you can access. I always felt like I never really belonged in any group of people because I have so many sides to me and so many different things about me and I feel like this made me feel like I belong here. Thank you for your words of wisdom, I'm definitely ready to get the ball rolling on this.
hi brianna, thank you so much for taking the time to watch this and for what you've shared and i am grateful to hear it benefited you - please let me know if i can help you in any way, jim
I've done Meisner for over 3 years and you just showed me a great fresh way of approaching Impeds, so thank you!
Thank you for watching! We're glad you found something useful!
I am an older student very new to acting. This was so helpful. Separating the first and second year opened my mind. I have been worrying about whether I will be able to do intense emotions that I have seen seasoned actors show.
Now, I realize that I have to focus on getting to know the basic skills without all the props. It's a process.
Absolutely! It is so critical that students are patient with the process. We are never masters at anything overnight, but we stand a chance, in time, if we begin with the proper foundation
Thank you for this! Takeaway-you can’t hide from yourself. Parts of you help to color the character and add more authenticity and depth to the role. Character work is extremely important. Also, as an artist in the theatre, earning the right to get on stage was another great point and crucial to doing the work. I will continue tuning in to learn and grow. Thank you!
Hi Jim, this was fantastic, thanks for sharing! I just re-purchased the Sanford Meisner Technique book (gave away all my acting books many years ago when I gave up on my Dream LOL) but am getting back into acting now so this was perfect timing!
Excellent lesson on 'character' work...Thank you for your clarity and genuine authenticity. Best wishes.
Jim once again, you give me life. I studied for three years with Tony S and have been just writing a lot, plays and screenplays, very little acting as family obligations and a recent child has taken over. Been in the union since 04' pursuing this off and on for 15 years and most of the work has been in the theatre or V/O. Haven't been able to make a living at it yet. I have never quit but I got very despondent and even a bit manic at times. Societal and family pressures et al. However, I feel I was called to do this work... which currently I am writing a TV series based of true events and I own the rights to the story because its about me. Which is why I am writing today as I find myself sort of starting over; blind if you will and your videos have been the beacon of light into my tunnel of darkness. Love and Light and Thank-you!
Thank you for your inspirational words. There is no one way for this career to look, and it seems you're a beautiful example of that. And if you're referring to Tony Savant, we love him!
I appreciate all of you videos and your teachings they have been reminders of the Meisner training I received which I think was very good because they say what you've been saying. Thank you for offering this information online it is so very appreciated.
Thank you for watching!
Another great video. Thank you for this. A huge takeaway that I got from this is that you NEED to research thoroughly the role that you are going to take on and BECOME that character. You are the character. It’s inside of you.
hi kenny - you nailed it and thank you for taking the time to even watch this. my best to you - jim
Simply thank you! it really hits one on the other side of the screen listening to your videos
I am currently Taking classes in Chicago. Very exiting . Thank's for your Teaching. It helps me understand more and more
hi chuck - i am so happy to hear this and hope classes are going well - jim
Love the "seed" advice/quote!!! So true.
Seen this video before and I still feel the same way about it, as I did before; Simply beautiful. Which is why I felt this one more comment was necessary. :)
Thank you so much for this! I'm currently in rehearsals as Cassius from Shakespeare's "Julius Ceasar". Quite a challenging character but has been getting me out of my comfort zone fantastically. I'm just a college student right now (not for acting for smt else) but I love acting so so so much and really wanna get better at it overall, I also wanna always just keep my options open since I'm still young and not 100% sure what I wanna do. Great video and I'll do some character work tomorrow
Merci merci merci. Ça c'est du plan séquence! Je sens que j'ai tout compris, tout, les conseils, les anecdotes, les sous entendus.... J'ai même eu l'impression pendant un moment que j'étais américain... Si vous connaissiez mon niveau en Anglais, vous comprendriez l'étendu de votre talent. D'ailleurs , la passion qui vous anime quand évoquez le maître est un bel hommage que vous lui rendez! Réellement communicatif! Cela fait quelques jours seulement que je fais des recherches sur S.Meisner et quel plaisir de découvrir une nouvelle "méthode" à explorer. Je travail depuis plus de 30 ans (j'ai 49) et je n'ai jamais pris le temps ou fait l'effort de m'intéresser à cette approche du travail d'acteur. Quelle erreur... mais il n'est jamais trop tard. Je vais continuer d'explorer. Merci pour le coups de boost !
hi david, i don't speak french but thank for watching and my best to you - jim
@@TheMeisnerTechniqueStudio
:-)
Thanks thanks thanks. That's a sequence plan! I feel that I understood everything, everything, the advice, the anecdotes, the innuendo... I even had the impression for a moment that I was American... If you knew my level in English , you would understand the extent of your talent. Moreover, the passion that animates you when you evoke the master is a beautiful tribute that you pay him! Really communicative! I have only been researching S.Meisner for a few days and what a pleasure to discover a new "method" to explore. I've been working for over 30 years (I'm 49) and I've never taken the time or made the effort to take an interest in this approach to acting. What a mistake... but it's never too late. I will continue to explore. Thanks for the boost!
@@lejeudelacteur you are SO welcome and my best to you - jim
I’m moving to Atlanta this weekend and will be taking Meisner classes. This video has inspired me more to give it my all. Thank you and I wish all the luck to the actors reading this. See you on set one day.🙏🏾🏆
We wish you the best of luck!
Beautiful lesson, Jim.
Thank you for mentioning the many sides when in deep therapy. I'm a licensed professional counselor transitioning into acting and I truly appreciate this Technique as it truly digs into the core of a person...I hope to continue to study this technique. Hopefully it's not too late to change careers at the age of 41.
Thank you for watching! It's never too late to change careers. Some of our most committed students have come to acting after a successful career in another industry!
Beautifully explained...! Thank you!
Thank you for watching!
I absolutely love your videos and studying Meisner. Thank you! I do have a question… I’m currently teaching an acting class to seniors and using a lot of what I have learned and studied with you and Meisner. Do you have any advice on teaching the technique to mature students who are new or have minimal experience in acting? I’ve studied classical and contemporary acting both in college and in other acting classes and personally find Meisner the most accessible and has helped me tremendously through the years. I’d love to see this group of seniors who have always to explore acting grow with a Meisner foundation. Thanks for your help and for all the great videos!
Love love love these videos 🙌🏾🙌🏾🙏🏾
Thank you!
Love him and his philosophy… I am currently at an acting based on his methodology..❤
I love this method! Congrats! I'ts a great content. Thanks!
Wow! Well put 🙂👍
I've just started watching your videos because I have a audition tomorrow that asks for this technique. I've never auditioned for anything before but I'm going to be me and see how it goes.
We hope it went well! We'll give you our favorite advice that we always give our students: don't be good!
Wonderful thank you so much.
Great lesson on character work..
Well done! Thank you.
Great post thank you !
Thanks for sharing 👍🏾
I am using this to improve my teacher presence because teaching is acting!
I studied with him as well.😂Youre right on. Stella, however, was the queen of impatience and explosion. Especially if you were a young, pretty actress. Which I was. She was 82.
I will love to see you in Vincent!
Seeing your process of diluting in to Vincent, from who you are.
Yess he always spoke about You, You, you, you are the character, that, I took with me from Mr Meisner’s class.
Oh how you truly inspire me.
Thank you!
I was born in LA but I move to Guadalajara to rise my kids.15 years ago, I continue to work and audition as an Actress but teaching feeds my heart and soul.
I left LA after creating a career that formed my strength and wings as a human as an actress, but I wanted to be a mother, I wanted to write and to humbly teach. After 20 years of working in Hollywood and New York.
I have a question any suggestions in, how can I continue to help my students in to understanding the power of training of being consistent, there is a lot of anxiety and depression going on (post covid and excessive media platforms) here in Guillermo del Toro and Juan Rufo’s town, Guadalajara, there is great talent and willingness but some young actors have a hard time in believing in them selves, it’s getting better but there is some profound work to be done.
Thank you!
Hi Marisol,
Thank you for watching.
I completely understand how easy it is for students to become disillusioned with their prospects. My recommendation is to empower them to understand all of the areas of their lives and careers that they CAN control. In my experience, the healthiest, most successful artists, whether famous or not, are the ones who decided that they didn't need to wait for someone else to tell them to create. Artists will always have the power to practice their craft, and as Sandy told us, "one day your talent and your audience will come together."
Nobody should ever feel that their creativity is exclusively in someone else's hands. Yes, big opportunities are often decided by a few people in privileged positions, but we can take back our power by creating our own material and opportunities in addition to pursuing those "big breaks"
I hope that helps
great video! Thank you
Thank you for watching!
OMG !! this was amazing i am so glad i found this (you).. i am a new Voice actor.. how do i find out more ??
Hey, Thank you for your video on this subject. I'm still new to acting. I really want implement the Meisner technique to access the different dimensions of myself for bringing it out in the character I'm being.
Like Heath Ledger did different things to bring the Joker in himself and I want to do the same thing. I practice different voices, accents and manerisums to find out what sides of myself I can become
Wishing you success
@@rayali9854 Thank you. Success doesn't come by ourselves along, but by others helping around us.
Hi I was part of a Meisner Technique Workshop here in Australia last weekend & I thoroughly enjoyed it. How can I transfer these skills onto my Actors as I am now directing a play.
hi valerie, i wish it were that simple but the meisner technique can not be taught in a workshop (it CAN be introduced which is great!) so transferring it to actors in your play who are not properly trained can often put them more in their head as they try and "do the technique" verses the time, effort, and commitment it would need to truly integrate it. it is a two-year process where each class builds on the previous class, the previous week,
month, and session so transferring it from a workshop is unrealsitic BUT what you can get them to hopefully do is to not act and serve up ideas, emotions, and moments planned out in advance. try to get them to stop acting and instead react - please let me know how the play is coming along - jim
@@TheMeisnerTechniqueStudio thanks for your response. As a new director I helped my actors to unpack their character in the play and this helped them a lot. In fact the play "Speed Dating" was well received by our audience. I know I have a lot to learn as an actor and as a director. I do love the Meisner Technique.
Hi there, thanks so much for this. I was wondering whether you could go into some more detail about the impediments... I understand this to be a hinderance or a block of some kind (just based off the definition of the word) would you agree? If so, do you also look at phycological impediments for example, certain limiting beliefs the character holds about themselves and the world around them? Equally, do all impediments have to hold a character back or can they be their greatest, most attractive qualities too?
Hey there, thanks for the knowledge. I’ve been studying Meisner for some time and I got to the part of it where I have to imagine circumstances. I’d love to understand if those imaginary circumstances are based on my real life or if it’s created from a whole new life history. Because here in Colombia the have taught me that it has to be with my life and to be honest, I don’t like it because I’m sending that intention and energy ti the universe. Which it becomes negative.
I’d really appreciate an answer
Thank you!
Hi,
Though the real answer to that question depends on how far along in the training you are, with The Meisner Technique, all exercises are designed to always be make believe. If any of your choices or your circumstances feel too close to unhealthy situations in your real life, it is wise to steer clear of those and make imaginary choices that can activate you in the same way but that are not rooted in your own trauma. No matter what, it is most important to be healthy and responsible with your choices. It may feel quicker or easier to pick circumstances rooted in your real life, but as Sanford Meisner said, "with a talented imagination, there's no place you can't go."
@@TheMeisnerTechniqueStudio I find it hard to feel the same emotion in the same intensity when I use my fantasy than remembering the real event. And something else that I did not find an answer to is, how can I feel a certein emotion, if I never experienced it? Is that even possible? I am not taking about the circumstances.
Brilliant explanation. How can Meisner's techniques be used to prepare for monologues especially as it relies on external focus. Can you invent a scene partner in your head to keep your focus out? I'm guessing that earning the character still applies though?
And this has been always an issue for me , there’s not total personalisation or involvement feeling it always feels somewhere that I’m performing. How can we take it personally and be totally involved?
This is the genius of Sandy's teachings. It is absolutely critical to take the focus off of yourself and put it onto your partner. Otherwise, the work will always be two (or more) actors doing a scene. To get to that next level, you have to know your lines so well that they're not a factor, and you have to hone your concentration in order to be able to focus entirely on your partner. Only then can you truthfully listen and react
I'm a psychologist working on my dissertation and a major component of my thesis work concerns the distinctions between acting methods. Would you say that building a character in the meisner technique relies more on reality or imagination? From my understanding of what you're saying, all characters are sourced from the self and exist under the circumstances of imagination. I'm trying to understand the distinctions between Meisner and Adler because so many of their teachings are similar, could you help?
Hi there,
Thank you for your question. I'm not sure I entirely understand your distinction between reality and imagination, but I will do my best to explain our approach -
We only work in the imaginary, meaning that we will never ask actors to draw from real life experiences. Sandy believed utilizing real life events was harmful for several reasons:
1. It can be incredibly emotionally damaging to relive past traumas
2. The impact of past events can change as your life experiences change. Think about something that upset you as a child. As an adult, it may feel inconsequential because your world view has expanded.
3. A reliance on the real world is limiting. If you were to play a violent criminal, would you need to go become a violent criminal in order to portray it correctly? (Absolutely not. We have to offer actors healthier, more sustainable ways to earn a role)
For these reasons, nearly all of our second year training is focused on building a character. During this time, students learn exercises to explore truthful behavior under imaginary circumstances. They learn to earn their character and behave truthfully as that character under circumstances that are not and will never be real, without ever dredging up memories from their personal lives.
I hope that helps,
Jim
@@TheMeisnerTechniqueStudio Nice reply
That sounds like it would be a really interesting dissertation. What’s the main thesis?
Great info sir, I have a question, I tend to prepare this way for auditions as well, with impediments, clothes, styles, I heard different points of view about it, like ` the director would prefer to imagine us this way instead of us dressed like that already` 9 for example as a WWII soldier), is it closing door for a recall? thank you so much for your help
Thank you for watching!
We recommend hinting at the role, instead of dressing directly for it. At the end of the day, the performance will be more important than the wardrobe, and sometimes, an elaborate wardrobe or prop choice will serve to distract from your performance, more than support. You also want to be able to show what they'll be getting if they cast you, regardless of your clothes, since you won't have a final say in how you're dressed, so becoming too reliant on wardrobe is not something I'd recommend.
Using your example, for a WW2 soldier, I'd suggest something simple like a tshirt and a dark green or dark blue jacket, not full soldier fatigues
@@TheMeisnerTechniqueStudio thank you so much for your time and help:)
Thank you! Looking for classes as we speak.
hi foodie - trust your gut, you'll know - jim
Please explain how to analyze a character inside out. Also how to observe someone from the inside
We'll post a video addressing this soon! This is advanced 2nd year work, so it's impossible to fully convey on a CZcams video, but we'll do our best to explain
@@TheMeisnerTechniqueStudio when will you make a video on this topic?
Great video! I've just started taking some meisner classes for the first time (after not acting in a while) and would really like to understand how to apply Meisner's technique, with what I've learned so far from the repetition exercises, to scene work? I don't want to "act" too much but I'm finding it difficult to reconcile my understanding of the character from what I've read in the script with how to really "live" as that person in my performance. I find myself thinking too much and not living in the moment. Any tips?
Hi Alistair,
Thank you for watching. The rather unsatisfying answer is that this comes with time and with additional layers of the technique. Students in the first session are not instantly good at using The Meisner Technique with scenes. That takes sessions of practice, alongside the additional elements that are added in those later sessions. So I'd advise you to be patient with the technique. It's a brick-by-brick approach, and it takes a significant amount of time.
As a more immediate answer, the most important aspect of using the Meisner Technique in a scene is actively listening to your partner. This takes your focus off of yourself and forces you to be present and react truthfully to what your partner is saying. When a script is well-written, your natural gut reaction is often in the same exact zone as your next line.
If you'd like to see more, check out our video on using the Meisner Technique for scripted material!
That helps a lot. Thank you!
Well said
Sir, can u suggest some drills or some methods or simply just some tasks to do to EARN to OWN the character? Because as u said it's not a one day job. So can u do a video on that or just simply suggest it?
Also, i would like to know more about the different characters inside us like u said "it's theirr anger or their flirtatious or heartbroken" as though they are living it and it's their version.
How to discover that within us? Surely we must have lived those in some moments but we don't remember those emotions and temperament and reactions.
This is the key difference between the Meisner Technique and some other techniques. We do not want students to have to recall past emotions or memories in order to play a character. That's extremely limiting and could become harmful, especially if a scene requires dredging up a painful memory from an actor's past. Instead, this is where we rely on imagination. When building out your imaginary world of things that led you to this point, it is crucial to be extremely specific. If you're not crystal clear on your choices, your commitment and your technique will suffer. We'll talk more about this in a future video
@@TheMeisnerTechniqueStudio thank u sir
any audition advice
I'm new to acting. In getting into character - is it wise to pull up a personal experience, especially with emotions, to help express or connect to the character's emotional state?
Hi,
Thank you for watching! The answer to this question entirely depends on which technique you use. In The Meisner Technique, we never instruct actors to use real life experiences, with Sandy's approach being that a vivid imagination is enough to summon any real-life feelings without the potentially damaging effects of revisiting some of life's more traumatic moments. This also opens actors up to roles that have no bearing on their real-life experiences and gives actors a path to remove their personal wellbeing from their work
Hello sir , how to access that part of me which is needed for the character? Or how to push my boundaries as per the character?
We'll be addressing this soon!
@@TheMeisnerTechniqueStudio hello sir , when will you make a video on this ?
I am just starting the meisner technique i still in repartition ( only 2 months) what do i do when my co actor is int reacting tho me or able to read my behavior
Hi Ayush,
Firstly, it's not an actor's job to judge their partner's work, especially since that leads to an actor focusing internally, instead of on their partner. If your partner is calling your behavior incorrectly or in a jumbled way, that is an opportunity for you to call THEIR behavior: "you're confused" "you don't know what to make of this." It is important to recognize that these are your responses to the moment and behaviors they're giving you, not their TECHNIQUE
Every time that you feel yourself beginning to judge their reactions and responses, take the focus off yourself and refocus on your partner's behavior
@@TheMeisnerTechniqueStudio thank you sir that actually clears something up
Thing up
That's right! Don't talk about your character in 3rd person. It all comes from you, it's in the body
I wanted to ask that how could you explain when actors say that they are “thieves of live”.That they steal certain things that people do in given situations. How is that and is it connected to Meisner Technique?
*life
Do you still like to do character backgrounds? History etc?
Yes, history exercises are one of the primary elements of 2nd year work
I wasn't clear what's meant by owning a character. Could you give me a bit more information please?
Hi Martin,
"Owning a character" refers to an actor's ability to behave completely truthfully as an imaginary person. An actor who spends time in their head, deciding how to react to a situation is not truly owning a character. They are instead playing an idea, which leads to inauthentic moments and prevents the actor from reacting instinctively, from their gut. When a character is owned, an actor can "put on" this character, almost like putting on clothes, and behave and react truthfully as that person. A key aspect of the Meisner Technique is the time away from the character. We teach our students to leave that person behind when their work is over, not to keep living in it.
I hope that helps!
What exactly is the syllabus of the second year?
The school I was in , they taught meisner technique in 4 weeks. They didn't even teach or talk about the second year.
You really look similar to bollywood actor Akshay Kumar
18:09
Are you from Philly originally?
Nope! Bay Area born and raised
What is the name of this teacher please ?
This is Jim Jarrett at The Meisner Technique Studio in San Francisco
As a native actor it’s been a challenge to create a “warrior” in today’s cancel culture.
hey frankee - i understand - please let me know if i can help you in any way - jim
Where is your studio located?
Hi Hunter! We're located in San Francisco
How to remove self-consciousness while acting. It always interupts me while acting. For eg., While doing a romantic scene with partner, I often think that my crooked teeth would not look good while smiling so it restricts me from acting. Please help me with the same.
Hi MJ,
The answer to this depends on whether or not these are self-conscious tendencies that you have in everyday life. If you find yourself thinking this when around a real romantic partner, then this is a trait that you can begin working through in your personal life.
If this self-consciousness only comes up when acting, it is usually an indication that you are not focusing intently on your partner. Living in the moment and truthfully listening and reacting will take away the self-awareness that comes up when you feel like an actor in a scene.
We hope that helps!
Having a form of godliness, but; ( 2 TIMOTHY 3:5; Stolen waters are sweet PROVERBS 9:17 ).
What a nonsense talk. He cannot even express himself clearly. And this is a teacher?
Hi! Thank you for watching. Please let us know if there's a specific aspect that's unclear to you and we'll be happy to help explain further.
You ARE meisner. You've earned it!
I wish that I lived in San Francisco! I will continue my training with you!
I study with Stella with Uta Hagen Tony Greco and was honored to study only a couple of times at this he Lankershim blvd in North Hollywood with Martin back in late 1996 but I had to shoot a Film and and then a play in La Joya and etc., when I finish a year latter was a bit late. This was tough on me because I had study with Stella up until the year she died in 1992. Irene took over the school and I almost continue latter with Arthur Mendoza, but Ed Adler my manager at the time suggested me to take some time off, Benicio was around at the time and Jason Scott Lee. I was 21 and it hit me a bit hard.
I train very little on Meisner but his approach reaches to my soul.
Thank you for Sharing your experience.🤍
Do you know who could benefit from the Meisner method? Police officers. Cops approach each interaction, trying to find similarities from previous encounters. They try and repeat these similarities to end the encounter as quickly and safely as possible. However, if officers can't treat each encounter as brand new, stereotypes, prejudices, and robotic actions/speach are repeated. X.... PIECEprojectSTL. we should talk about this.