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am 25. Juni 1998
You will NOT read this book and come away a brilliant actor. Then again, no book can do that for you. You can only learn by doing, either in class or in a performance. With that in mind, this book is packed with incredible insights, some that are basic tips for the beginner, and others that will only be appreciated after years of performing and multiple readings. Sanford Meisner, one of the members of the famed Group Theatre in the 1920's, was one of American theatre's gems, and sitting in on a course of his, through this book, is the only way to capture some of that magic. A "must-have" for any serious actor's library.
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am 10. Mai 2000
I am currently studying the craft of acting at one of the 3 year professional acting acadamies here in LA. I very much enjoyed reading this book and have done so at this point several times. I would most highly recommend it to anyone thinking about or currently studying the craft of acting.
In the first chapter (Setting The Scene: Duse's Blush), we are giving a chronology of Meisners life and how he came to be such a great and beloved teacher. It is also in this first chapter that Meisner recounts the story of Elenora Duse, a legendary Italian actress who played the role of Magda in Hermann Sundermanns Heimat. In the first scene of this play, as the story goes, she is a young girl that has an affair with a guy from the same village, and she has a child by him. Twenty-five years later, or thereabouts, she comes back to visit her family who live in this town, and her ex-lover comes to call on her. She accepts his flowers and they sit and talk. All of a sudden the actor realizes that she is blushing, and it gets so bad that she drops her head and hides her face in embarrassment. Although we learn that this does not happen every performance, it is this blush that is the epitome of living truthfully under imaginary circumstances. This is Meisners definition of all good acting.
The foundation of acting, is the reality of doing. It is this basic premise that is the spine of this book of exercises intended to bring the actor closer to their emotional self. It is an approach that is based on bringing the actor away from the intellectualizing of character analysis back to his emotional impulses and to acting that is firmly rooted in the instinctive. Through preparation, the actor is bought to a full state of emotional aliveness for those first precious moments on the stage at the beginnings of any scene. It would be impossible to escape the powerful impact of emotion or the importance of being able to realize and use effectively this impact in your performance.
Once those first precious moments of emotional aliveness that the actor has prepared for have elapsed however, the actor must be willing to enter into a state of, what Constantine Stanislovsky refers to as public solitude (as opposed to public exhibitionism). A complete surrendering of ego and willingness to make oneself vulnerable to the ultimate revealing of truth in who we are in the context of the words and circumstance written and demanded of the actor by the playwright.
Everything in acting is, of course, a kind of heightened intensified reality but it is based on one that is fully justified. Good acting isn't just the emotionless reciting of lines of text as mindless chatter. It is responding truthfully to the other person or persons on the stage. To fill words with the truth of your emotional life Meisner suggest that you must learn text coldly without expression in a completely neutral way. This learning should than be taken further through repetition mixed with a distracting independent activity. It is this repetition coupled with a distracting independent activity that takes the actor out of the intellectual mind into that of the of instinctual. That is, not thinking but simply acting and reacting honestly to what's happening on stage in every moment. But again, in order to get out of your head and into the emotional life of the instinctual, you have to know the lines so well that you don't even have to consciously think about them. As the logic goes; if you don't know your lines cold you can not get to the emotions. If you can't get to the emotions than you are nowhere near the heart of your instincts and can therefore not act or react honestly. </font></p> Learn lines and pick up impulses. This is what Meisner suggest is crucial if you are to always be in the moment of a scene honestly and most importantly, realistically. It is the truth of your instincts that is the very root of the foundation from which you must build not only your character, but also all of the honest emotional actions and reactions asked of you on stage. Living the emotional life of the character truthfully under imaginary circumstances. It is this emotional honesty and openness that will most profoundly move you and the audience for the enjoyment of you both.
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am 17. Februar 2000
These are a collection of different classroom settings from Meisner's Neighborhood Playhouse Theatre of New York and shed light on his "method" to acting. By reading this book, one may extract the tools to enhance his/her craft in acting even if the reader disagrees with what is being said. Strasbergian actors or those who believe they stick true to the early Stanislavskian method can extrapolate a great amount from this book. Superbly written and constructed.
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am 6. August 1999
When you're in the training, read this. Otherwise you just won't get it. And as Sandy says, it takes 20 years to become and actor. Some book ain't gonna do it for you. So get this book if you are studying the technique. Kudos to those of you who have the 2nd generation Meisner teachers (those who ACTUALLY studied with Sandy, and aren't just making the stuff up). This is a great tool
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am 8. Februar 1999
Unlike Stanislavsky's "emotional recall," Meisner's approach is much more effective. Having been trained under Mr. Meisner's method, my confidence and emotional accessibility has increased 100%. In short, I've accepted his creed, "to live truthfully under the imaginary circumstances of the theater," as my own.
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am 2. März 2000
i've been studying the Meisner Technique for two years now, and without this book I would be lost. Sandford Meisner's appraoch to acting has taken the craft in an entirely new and powerful direction. I recommend that every acting student get a hold of this book. It will change the way you look at acting forever.
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am 14. Juni 1997
Acting is about doing. It's not an intellectual theory without practice and this
book clearly shows the actor that simple and brilliant truth.
Do it.
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am 13. Juli 1999
Of course, no single acting technique can be right for every aspiring performer, but I must say that I personally found Meisner's book to be condescending and ineffective. The author seems to subtract the most essential aspects of art from the process of creating a character: imagination, creativity, and humanity. These are the trademarks of my "technique." Like any art, performing is 2% inspiration and 98% perspiration. I am a good actor, but not because of this book. Hard work, dedication, practice, and sheer will power make an actor believable.
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am 30. Mai 2012
Sanford Meisner on Acting (Vintage). Ob neu oder gebraucht, alle wichtigen Bücher für Ihr Studium finden Sie im großen Studium Special. Natürlich portofrei.
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