Meisner Quotes

The text is your greatest enemy.

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

To be inventive, to have ideas, is an organic part of being talented.

As she reached back for the buckle, her fingers met Mr. Meisner’s. She jumped. “I can do this... Sir.” “Ah.” He brushed aside her fingers. “I see you’ve at least remembered the sir.” “One always calls gentlemen that, just as you--” With only a rustle of cloth to warn her, his teeth met in the lobe of her ear, sending a spark into her middle. Like the melt of winter snow, she felt heat pool in her lower body. Her fingers curled against her collarbone where her hands still rested either side of her neck. “I’m not a gentleman, Faith.

One can use standard principles and textbooks in educating people for law, medicine, architecture, chemistry or almost any other profession—but not for the theater. For, in most professions, every practitioner uses the same tools and techniques, while the actor’s chief instrument is himself. And since no two persons are alike, no universal rule is applicable to any two actors in exactly the same way.

The American actor is very lucky... Because so little is asked of him.

... as a convention, you get up and walk to the window to make the audience believe that you're looking out. It's for the audience, not for you! And what it means to you is something emotional [...] If you went to the Actors Studio you'd spend six months seeing the snow before you could say, 'Look at the snow.' This takes a terrible burden away from the actor, who thinks he's got to see the woods and the snow. 'Give me my gun! I see a rabbit! Give me my gun!' " Meisner sounds thrilled at the possibility of a hunt. "That happens when you're still sitting there reading. Then when they put in the scenery you move to the window. Isn't that simple? How simple it is to solve the problem of seeing things when you know that it's all in you emotionally, and that walking to the window is only a convention.

For the thousandth time, Faith wondered why this appealed to her. She detested letting men walk all over her, letting them think they were supreme beings. But when Mr. Meisner did all these diabolical things to her, her body fired up and wanted more.

Less is more” was one of Meisner’s mantras. “Silence has myriad meanings. In the theater, silence is an absence of words, but never an absence of meaning.” Most of all, Meisner urged his students to think of acting a role as “living truthfully under given imaginary circumstances.

Sanford Meisner taught actors never to look at the punctuation in a script. His belief was that it would force you into giving a particular line reading that might not be your own—meaning that you would get stuck in a certain way of saying it instead of following the impulses arising from your intention.

The only thing you have to offer as an actor is your unique personality, that which is yours and yours alone.

Painters make their art from brushes, canvas, and hues. Sculptors work in clay and bronze, stone, and plaster. Writers use pens and paper—lately they use computers. Musicians have their instruments. But what does an actor use to create his art? Some would say nothing, but this isn’t true. In fact, the actor has the most complicated instrument of all—himself! His experiences, his imagination, his sensitivity. His physical body and his observations. Everything that makes up the sum total of a person’s humanity is part of the actor’s instrument. As Eleonora Duse once said, ‘All that I have to offer as an artist is the revelation of my soul.

Certain words, certain expressions. Things like ‘I love you’ and ‘I hate you.’ They’re big traps for actors. They can tempt you away from the connection you’ve developed with your partner and lead you into swamplands of clichéd performing. ‘Love’ and ‘hate’ are powerful words, and for some reason, we feel like we must fulfill them—and other words like them—whenever we say them. But we don’t have to.” Bill turns to Adam. “Actors hit that line—‘you know I’m absolutely crazy about you. Don’t you?’—and go all kablooey. Your head’s saying, ‘How can I not say a line like that without letting love swim into the duck pond? But inside you’re saying, ‘To hell will love! This girl’s really pissed me off, breaking off an important date like that.’ Follow your true inner response. It will never lead you astray. You’ll be bubbling up with impatience and irritation and you’ll say a line like that and it’ll have new meaning. It’ll have your meaning. Remember: Bad actors consciously adjust their inner responses to what they think the lines of the text require. Good actors adjust the text to the inner emotional line created by their sensitized responses to the other actor.” Adam says, “I get it. I was trying to act the words.” Bill nods. “You were manipulating yourself, cutting off our real response in order to live up to what you thought the text demanded of you. But any line can mean anything, and come out of you in any way.

But hey, it was dinner, and I needed my grocery money for rent. I summoned up the ghosts of Stanislavski and Meisner. I’d need all of my acting chops to keep from smacking him across the face before the appetizers came.

We become so accustomed to this state of affairs that we come to think of acting as synonymous with ‘performing’ – that is, putting on a show for the benefit of those watching. This is reinforced by some linguistic confusion around the word ‘acting’. To the general public it means pretending or lying. Professional actors, of course, know that acting is actually about telling the truth. After all, what do we mean by ‘bad acting’ other than that we don’t believe what we’re seeing? And yet, most of us probably implicitly consider engaging directly with an audience as inherent in acting. Meisner’s greatest contribution to acting was probably a philosophical one. By defining it as ‘living truthfully in imaginary circumstances’, he took performance out of the equation.

The Gift of a New Day that talks about new motivation and a new outlook on life. God loves to make things new! Avoid

Why trouble ourselves to create a living, breathing part for the stage, a character who is vivid, real, and alive in every way? I can’t speak for each of you, but I bet the answer goes back to why you want to act in the first place. There’s something within you you want to share, something you know will make a difference in this world if only you find a way to release it, polish it, show it to others. We are connected to one another in ways we cannot possibly comprehend, but it’s easy to forget this. Life seems hell-bent on breaking the few timorous connections we maintain with one another. But the child in each of us never dies and the signals we want to emit over this massive web were not meant to be kept to ourselves. The hard work is hard for a reason: in the end, it’s the work worth doing.

Acting is behaving truthfully under imaginary circumstances.

An individuals beauty does not portray their personality, an individuals personality does portray their beauty.

To know me, is to know who i was. Some who knew who i was, will not like who i have become. those worth keeping, will accept you, for you.

Truth is the blood of art. Without truth a piece of art fails to touch the human spirit.” Someone in the back row grunts their approval, and Bill continues. “Now let’s look at the other side of this definition, the imaginary part. Imagination is pivotal for actors because everything we do, every piece of our craft takes place in the world of imagination.

Let’s revisit my conversation with Theater Director, Teacher, and Actor Terry Martin and the Meisner Technique. According to Terry, he encourages his students to seek a pivotal place when they are truly present in the moment and access their emotional impulses. He does this by describing emotions as E-motion. Energy in motion. Because they are constantly changing, emotions are powerful but momentary. By accessing these emotions, his actors find a way to tell a story in their unique way. He cautions that emotions only create a block if they are restrained. For example, my attempts to silence my emotions prevented me from accessing my mind and held me in a painful state. He teaches his students to understand the emotional journey by accepting their emotions.

Discipline is what separates the artist from the appreciator of art.

Impulses are the most important things we have as artists. Stop judging them. Get out of their way and follow wherever they lead.

In the words of acting teacher Sanford Meisner, “That which hinders your task is your task.