1. Musical/Technical Theatre Fall 2017
Acting Techniques II
Musical/Technical Theatre
Fall 2017

2. Sanford Meisner American actor and acting teacher.
While Meisner was exposed to method acting at the Group Theatre, his approach differed markedly.
Completely abandoned the use of affective memory (memory recall).
Maintained an emphasis on "the reality of doing," which was the foundation of his approach.
Sanford Meisner

3. Sanford Meisner said that his approach to training “is based on bringing the actor back to his emotional impulses and to acting that is firmly rooted in the instinctive. It is based on the fact that all good acting comes from the heart, as it were, and that there’s no mentality to it.”
Meisner Technique

4. Structured Improvisation Relies on repetition.
“Look at me!”
One exercise requires two actors to sit across from one another and have a conversation using only one phrase.
Meant to bring out the actor’s emotions.

6. David Mamet
William H. Macy
Practical Aesthetics

7. Based on the teachings of Stanislovski, Meisner, and the Stoic philosopher Epictetus.
What is it?

8. Practical Aesthetics: Technique
Practical Aesthetics is based on the practice of breaking down a scene using a four-step analysis that entails the following:
The “Literal”
The “Want”
The “Essential Action”
The “As If”
Practical Aesthetics: Technique

9. The essential and most basic description of what is taking place.
LITERALLY what is happening/being said.
Ex: a couple talking about troubles in their relationship.
The “Literal”

10. What does one character ultimately want the other character to say or do.
What does the character want based on the other character(s) in the scene.
Ex: the girlfriend wants the boyfriend to swallow his pride.
The “Want”

11. The “Essential Action”
An evocative and relevant description of what the actor wants within the scene. It is essential to understand that what the character is doing and what the actor is doing are separate.
Ex: get a loved one to take a chance.
The “Essential Action”

12. This relates the "essential action" to the actor's own life.
If the essential action is to “get a loved one to take a chance”, the actor might say it’s “as if I was convincing my brother to get over his ex, and ask out the girl next door”.
The key is, it must mean something important to you, and it must be plausible enough for you to invest your energy in it.
The “As If”