Actors who study the Meisner Technique are likely familiar with the term the actors instrument. An analogy between an actor and an instrument is a good way to help define all the aspects of the acting craft and help actors take in idea, information and lines and put out high quality work. Even the most inexperienced audience knows when acting is good or not, simply by how engaged they are in the material being presented. They don't need a great deal of theatre going experience to sense when the acting is fantastic. They can also sense when an actors instrument is not well developed, because they don't "believe" the character portrayal.
The actors instrument is comprised of six different elements, all important. The aspects of the instrument include sensory expression, emotional, empathy, intelligence and sensory and physical expression. These six aspects of the actors instrument are identified and developed when studying the Meisner Technique. Many actors have mastered many of the six aspects of their instrument and audiences can identify with and respond to those the most. Legendary actors are those that have mastered all six.
For example, an actor like Stallone is known mainly for his physical expression and presence. While this does not mean the Stallone cannot express a character emotionally, he is general know for his physical expression, which is the most powerful of his acting tools. For Stallone, emotion is an internal process but it is reflected in a very physical way. It's very important for actors to learn and develop all aspects of their instruments, to become well-rounded performers.
Emotional expression is the most common aspect of the instrument that actors are focused on. Obsessing about how a character feels about something and how to express it is usually the primary thing actors concentrate on. While it can be short sighted to put too much weight on any one aspect of the actors instrument, emotional expression is certainly a key acting tool to master. It's important to remember, however, that each of the six aspects of the instrument are related and must be developed and work together.
Of course, it is meaningful emotional expression that draws people into any character or story. It clues the audience in to what the character is about, the conflicts they face, what their deepest needs are. It is common in classes teaching Meisner acting in nyc to create an emotional history of a character, imagine it in detail and then use all the aspects of the instrument to express them. Meisner acting students are masters of human emotion, the full range and complexity of the human experience. They in fact, build a library of emotions and reactions and methods for communicating them. Specific characters can be created by delving very deep into the imagination and using the "library" of human behavior they have created. They create and live the emotional life that the character would live so that it is instilled in them and can be called upon at will.
Take as an example, vulnerability which is an expression of insecurity or perhaps innocence or even strength. Actors might work hard to develop this emotion and the complex ways it can be expressed. But, if they have strongly developed other aspects of their instrument, such as physical expression and empathy, they will be able to present an authentic, vulnerable character. A single tear, without words can accomplish this, but how about a sense of vulnerability shown while one is smashing a clock to pieces? These are very nuanced yet, essential things to study.
One common myth is that acting is pretending to have certain emotions. Simply reciting inflections and gestures that express certain emotions is not acting. As Sanford Meisner always said, Acting is DOING. In other words acting is being in the moment and allowing any number of emotional reactions well up and take you over and turn you into the actual character. It is a subtle yet, very important distinction. The best actors do not pretend to feel something, or coach themselves to do anything while in character. There are genuine emotions in their performances, often unpredictable ones that appear as they work as character. Acting students who have developed a deep capacity of raw, true human experience that can express it using all aspects of the instrument are the ones that learn the most about the craft. Actors must give themselves permission to feel strong emotions, and express them (or not, if the role requires it) in physical, intelligent, empathetic ways.
The actors instrument is comprised of six different elements, all important. The aspects of the instrument include sensory expression, emotional, empathy, intelligence and sensory and physical expression. These six aspects of the actors instrument are identified and developed when studying the Meisner Technique. Many actors have mastered many of the six aspects of their instrument and audiences can identify with and respond to those the most. Legendary actors are those that have mastered all six.
For example, an actor like Stallone is known mainly for his physical expression and presence. While this does not mean the Stallone cannot express a character emotionally, he is general know for his physical expression, which is the most powerful of his acting tools. For Stallone, emotion is an internal process but it is reflected in a very physical way. It's very important for actors to learn and develop all aspects of their instruments, to become well-rounded performers.
Emotional expression is the most common aspect of the instrument that actors are focused on. Obsessing about how a character feels about something and how to express it is usually the primary thing actors concentrate on. While it can be short sighted to put too much weight on any one aspect of the actors instrument, emotional expression is certainly a key acting tool to master. It's important to remember, however, that each of the six aspects of the instrument are related and must be developed and work together.
Of course, it is meaningful emotional expression that draws people into any character or story. It clues the audience in to what the character is about, the conflicts they face, what their deepest needs are. It is common in classes teaching Meisner acting in nyc to create an emotional history of a character, imagine it in detail and then use all the aspects of the instrument to express them. Meisner acting students are masters of human emotion, the full range and complexity of the human experience. They in fact, build a library of emotions and reactions and methods for communicating them. Specific characters can be created by delving very deep into the imagination and using the "library" of human behavior they have created. They create and live the emotional life that the character would live so that it is instilled in them and can be called upon at will.
Take as an example, vulnerability which is an expression of insecurity or perhaps innocence or even strength. Actors might work hard to develop this emotion and the complex ways it can be expressed. But, if they have strongly developed other aspects of their instrument, such as physical expression and empathy, they will be able to present an authentic, vulnerable character. A single tear, without words can accomplish this, but how about a sense of vulnerability shown while one is smashing a clock to pieces? These are very nuanced yet, essential things to study.
One common myth is that acting is pretending to have certain emotions. Simply reciting inflections and gestures that express certain emotions is not acting. As Sanford Meisner always said, Acting is DOING. In other words acting is being in the moment and allowing any number of emotional reactions well up and take you over and turn you into the actual character. It is a subtle yet, very important distinction. The best actors do not pretend to feel something, or coach themselves to do anything while in character. There are genuine emotions in their performances, often unpredictable ones that appear as they work as character. Acting students who have developed a deep capacity of raw, true human experience that can express it using all aspects of the instrument are the ones that learn the most about the craft. Actors must give themselves permission to feel strong emotions, and express them (or not, if the role requires it) in physical, intelligent, empathetic ways.
About the Author:
The Maggie Flanigan Studio provides training for serious actors committed to improving their craft. Find out more about meisner acting in nyc by reading this article about acting instrument by visiting the studio website.
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