acting programs meisner technique ESMA KIRIM

The Maggie Flanigan Studio doesn't try and make you into a Nicole Kidman or a Cate Blanchett. You are going to get work that is fulfilling only if you are true to yourself and you bring your strengths to the table. Maggie Flanigan really lets you figure out what those strengths are and makes you the best actor you can be. Interviewer: What would you say to a perspective student or someone who is thinking about committing to training who've maybe thought, "Well, two years is a long time. I don't really need to train." Or, "I'm 24, I'm too old." Or, "I don't have the time. I don't have the money." Maybe finding reasons, a lot of reasons right now to do that or do this, why would you tell them to do it? Esma: Well, first of all, I'm 30. I had a whole past life where I've never would imagine making such a drastic career shift, but I'm so grateful that I had the strength and courage to do that. Because I'm following a passion. That's where I would start, I would say. Ask yourself why. Why do you want to do this? Becasue if it's not a real passion of yours, if there isn't curiosity that you can't help, but you have to itch that scratch and you want to learn more and you want to get better, then you won't be able to do this. It's just going to feel like a chore. Because this is an intense program that really prepares you for the industry and really prepares you to give it your all and do your best. If you're not in that head space, it's going to feel like it's too much. Ask yourself why you want to do this and then, if the answer is, "Yes this is the only thing I want to do in life," just go for it. No excuses, just go for it. You will find a way to make the money. You will find a way to get through those difficult classes, where you think you're not learning anything, you're not making any progress. Interviewer: Why would you tell that person that Maggie Flanigan Studio's the best place for them to study? Esma: Because I think Maggie Flanigan makes you the best actor you can be. It doesn't try and make you into a Nicole Kidman or a Cate Blanchett because we're not all the same. We have different strengths. We react differently to different circumstances. It took me a while to let go of that actually. In the beginning, I tried imitating other classmates. I tried imitating other actors I see on TV. That's not the way you go because the industry is going to accept you and you're going to get work that's fulfilling only if you are true to yourself and you bring your strengths to the table. Maggie Flanigan really lets you figure out what those strengths are. Interviewer: Now that you're done with first year, you have a little bit of a break. How do you feel about starting second year in September? Esma: I appreciate having a break, but at the same time I have withdrawal symptoms. I don't know what to do with myself because I'm so used to coming to class. What was the question? What am I going to do-- Interviewer: How do you feel about starting second year in two months? Esma: I'm excited. I don't know what is going to be thrown at us. Charlie says it's going to be a whole different ball game. We're going to learn about character work and how to approach a script. I'm excited to get in to the nitty gritty. A little apprehensive, but it's good. Maggie Flanigan Studio 153 W 27th St #803 New York, New York 10001 +1 917-789-1599 www.maggieflaniganstudio.com/ goo.gl/maps/oxqqExybwL32 plus.google.com/112291205845820496849 https://flic.kr/p/MyjXMb

via acting programs meisner technique ESMA KIRIM
by Maggie Flanigan

acting programs in new york - maggie flanigan studio 01 - (917) 789-1599

acting programs in new york - maggie flanigan studio 01 - (917) 789-1599 Q: Esma, what did you think Meisner training was before you started the two-year program at Maggie Flanigan Studio? A: To be honest, I didn't really have a clue. In my own way, I googled and researched acting, New York and a lot of different things came up. From what I understood, Meisner was a technique that could be applied to any kind of role, to theater, to TV and film and I liked that aspect. If I'm being honest, I was very naive and I just kind of walked into it. Acting, I can do this. I interviewed at a few schools and that was it. Q: Now that you're finished with your first year, what do you think the Meisner technique is now? How has this year changed your opinion of it? A: It's been a huge learning experience. I realized that the Meisner technique really allows you to get to know yourself, which is very important in acting because any scene you get, you basically filter it through your own experiences, your own feelings. You have to have a point of view. I really appreciate that because it made me realize how much I go through my life without figuring out what I feel about something or how I feel about a certain situation. Maggie Flanigan Studio 153 W 27th St #803 New York, New York 10001 +1 917-789-1599 www.maggieflaniganstudio.com/ goo.gl/maps/oxqqExybwL32 plus.google.com/112291205845820496849 https://flic.kr/p/28AJ99S

via acting programs in new york - maggie flanigan studio 01 - (917) 789-1599
by Maggie Flanigan

acting programs new york ny - maggie flanigan studio 01 - (917) 78

acting programs new york ny - maggie flanigan studio 01 - (917) 789-1599 Q: What did you learn about yourself this first year that was a surprise or that changed you? A: I knew I could be shy sometimes. I didn't know the extent to which I was holding back, like all the norms that were taught by society of how we should act and also how a woman should act, was so ingrained in me. I think the first six, seven months really, it was just me chipping away at that. It surprised me how I didn't really have any freedom and it was a struggle at times. It's uncomfortable trying to open up and be more vulnerable. If I'm being untruthful, I didn't always love the process, but now that I feel like I have broken down a lot of those walls, I feel so much more free. I think it's affecting other parts of my life positively as well because I'm just more open in all my relationships. Q: As you come from a business background, so you know what it means to work hard in the business sense, but how has this year taught you what it means to work hard or have a work ethic as an actor or an artist? A: I'm used to working hard. Like you said, I come from a business background. I went to business school. I ran my own retail company for six years. I guess in that way, I was confident coming in, like I'll just put in the work and I'm going to see immediate results and be a great actress, which is true. You do need to put in the work. What was different was the growth and the results. They're not linear. I'm just used to putting in all the work, immediately seeing results because that's how you get success in other fields. Maggie Flanigan Studio 153 W 27th St #803 New York, New York 10001 +1 917-789-1599 www.maggieflaniganstudio.com/ goo.gl/maps/oxqqExybwL32 plus.google.com/112291205845820496849 https://flic.kr/p/26Wchcj

via acting programs new york ny - maggie flanigan studio 01 - (917) 78
by Maggie Flanigan

acting program in new york - maggie flanigan studio 01 - (917) 78

acting program in new york - maggie flanigan studio 01 - (917) 789-1599 In acting, it can be very sporadic. It's like taking two steps forward, and a step back. You're learning how to react to other people, how to take in, how to listen. It's not something you can just read off a book. I've read a lot of autobiographies of actors that I admire, but I still can't employ all the techniques that they have. It doesn't work that way. I wish it did. I was a little naive coming into this, to be honest. I just thought I could put in the work and immediately be great. It takes time. Q: What's it like to be in acting class and have a bad day? A: I think it depends on your personality. I'm very type A and like I said, I do like to see immediate results. If I had a good day, let's say last class, I'd expect to have a good day next class. If I see that I'm struggling with something that I thought I had already internalized, "Okay, I'm done with that, I have that now in my tool box," it frustrates me. I'd really get down on myself. I have that inner critic that won't shut up and that's the worst thing that you can do as an actor, actress. It's not a good feeling, but it happens. Throughout the year, I've made peace with that. It's part of the process. Q: What's it like to have a good day in class? A: It's the best. [laughs] I personally, I just go home, and I can't shut up about it. I talk to my husband, I'm like, "Oh my God, I did this. I had the best exercise. My scene partner did this." It's just you feel so creatively fulfilled. I personally didn't have a lot of creativity in my past life, coming from a business background. Not to say there isn't creativity in business, but it's a whole different ball game here. I just love that. I love playing all out with myself. Maggie Flanigan Studio 153 W 27th St #803 New York, New York 10001 +1 917-789-1599 www.maggieflaniganstudio.com/ goo.gl/maps/oxqqExybwL32 plus.google.com/112291205845820496849 https://flic.kr/p/28j8wi8

via acting program in new york - maggie flanigan studio 01 - (917) 78
by Maggie Flanigan

new york acting programs - maggie flanigan studio 01 - (917) 789-1599

new york acting programs - maggie flanigan studio 01 - (917) 789-1599 Q: Esma, what did you think Meisner training was before you started the two-year program at Maggie Flanigan Studio? A: To be honest, I didn't really have a clue. In my own way, I googled and researched acting, New York and a lot of different things came up. From what I understood, Meisner was a technique that could be applied to any kind of role, to theater, to TV and film and I liked that aspect. If I'm being honest, I was very naive and I just kind of walked into it. Acting, I can do this. I interviewed at a few schools and that was it. Q: Now that you're finished with your first year, what do you think the Meisner technique is now? How has this year changed your opinion of it? A: It's been a huge learning experience. I realized that the Meisner technique really allows you to get to know yourself, which is very important in acting because any scene you get, you basically filter it through your own experiences, your own feelings. You have to have a point of view. I really appreciate that because it made me realize how much I go through my life without figuring out what I feel about something or how I feel about a certain situation. I don't really formulate my own point of view. It was a huge learning experience in that sense. I got to know myself. In that way, I get to know how I feel about something and a truthful reaction comes out of that. I can see how that can be applied to any kind of acting. I love that. Q: What did you learn about yourself this first year that was a surprise or that changed you? A: I knew I could be shy sometimes. I didn't know the extent to which I was holding back, like all the norms that were taught by society of how we should act and also how a woman should act, was so ingrained in me. I think the first six, seven months really, it was just me chipping away at that. It surprised me how I didn't really have any freedom and it was a struggle at times. It's uncomfortable trying to open up and be more vulnerable. If I'm being untruthful, I didn't always love the process, but now that I feel like I have broken down a lot of those walls, I feel so much more free. I think it's affecting other parts of my life positively as well because I'm just more open in all my relationships. Q: As you come from a business background, so you know what it means to work hard in the business sense, but how has this year taught you what it means to work hard or have a work ethic as an actor or an artist? A: I'm used to working hard. Like you said, I come from a business background. I went to business school. I ran my own retail company for six years. I guess in that way, I was confident coming in, like I'll just put in the work and I'm going to see immediate results and be a great actress, which is true. You do need to put in the work. What was different was the growth and the results. They're not linear. I'm just used to putting in all the work, immediately seeing results because that's how you get success in other fields. In acting, it can be very sporadic. It's like taking two steps forward, and a step back. You're learning how to react to other people, how to take in, how to listen. It's not something you can just read off a book. I've read a lot of autobiographies of actors that I admire, but I still can't employ all the techniques that they have. It doesn't work that way. I wish it did. I was a little naive coming into this, to be honest. I just thought I could put in the work and immediately be great. It takes time. Q: What's it like to be in acting class and have a bad day? A: I think it depends on your personality. I'm very type A and like I said, I do like to see immediate results. If I had a good day, let's say last class, I'd expect to have a good day next class. If I see that I'm struggling with something that I thought I had already internalized, "Okay, I'm done with that, I have that now in my tool box," it frustrates me. I'd really get down on myself. I have that inner critic that won't shut up and that's the worst thing that you can do as an actor, actress. It's not a good feeling, but it happens. Throughout the year, I've made peace with that. It's part of the process. Q: What's it like to have a good day in class? A: It's the best. [laughs] I personally, I just go home, and I can't shut up about it. I talk to my husband, I'm like, "Oh my God, I did this. I had the best exercise. My scene partner did this." It's just you feel so creatively fulfilled. I personally didn't have a lot of creativity in my past life, coming from a business background. Not to say there isn't creativity in business, but it's a whole different ball game here. I just love that. I love playing all out with myself. Maggie Flanigan Studio 153 W 27th St #803 New York, New York 10001 +1 917-789-1599 www.maggieflaniganstudio.com/ goo.gl/maps/oxqqExybwL32 plus.google.com/112291205845820496849 https://flic.kr/p/28AJ9aJ

via new york acting programs - maggie flanigan studio 01 - (917) 789-1599
by Maggie Flanigan

Open and Vulnerable: Esma Kirim

The professional acting programs at the Maggie Flanigan Studio train professional actors based on the Meisner technique and principles first taught by Sanford Meisner. Esma Kirim discusses with Katie some of the challenges she faced in the first year of the two-year acting program.

New York Acting Programs – Maggie Flanigan Studio – (917) 789-1599

Q: Esma, what did you think Meisner training was before you started the two-year program?

A: To be honest, I didn’t have a clue. In my way, I googled and researched acting, New York and a lot of different things came up. From what I understood, Meisner was a technique that could be applied to any role, to a theater, TV & Film and I liked that aspect. If I’m honest, I was very naive and I just kind of walked into it. Acting, I can do this. I interviewed at a few schools, and that was it.

I was a little naive coming into this, to be honest. I just thought I could put in the work and immediately be great. It takes time.

Esma KirimActing Program, First Year

Q: Now that you’re finished with your first year, what do you think of the Meisner technique now?

A: It’s been an enormous learning experience. I realized that the Meisner technique allows you to get to know yourself, which is very important in acting because any scene you get, you filter it through your own experiences, your feelings. You have to have a point of view. I appreciate that because it made me realize how much I go through my life without figuring out what I feel about something or how I feel about a particular situation.

I don’t formulate my point of view. It was a tremendous learning experience in that sense. I got to know myself. In that way, I get to know how I feel about something and a truthful reaction comes out of that. I can see how that can be applied to any action. I love that.

Professional Acting Programs in New York – Maggie Flanigan Studio – (917) 789-1599

Q: What did you learn about yourself this first year that was a big change?

A: I knew I could be shy sometimes. I didn’t realize the extent to which I was holding back, like all the norms that were taught by the society of how we should act and also how a woman should work, was so ingrained in me. I think the first six, seven months really, it was me chipping away at that. It surprised me how I didn’t have any freedom, and it was a struggle at times. It’s uncomfortable trying to open up and be more vulnerable.

If I’m untruthful, I didn’t always love the process, but now that I feel like I have broken down a lot of those walls, I feel so much freer. I think it’s affecting other parts of my life positively as well because I’m just more open in all my relationships.

Q: What has this year taught you about the work ethic of an actor?

A: I’m used to working hard. As you said, I come from a business background. I went to business school. I ran my own retail company for six years. I guess in that way, and I was confident coming in as I’ll just put in the work, and I’m going to see immediate results and be a great actress, which is true. You do need to put in the work. What was different was the growth and the results. They’re not linear. I’m just used to putting in all the work, immediately seeing results because that’s how you get success in other fields.

In acting, it can be very sporadic. It’s like taking two steps forward, and a step back. You’re learning how to react to other people, how to make it, how to listen. It’s not something you can just read off a book. I’ve learned a lot of autobiographies of actors that I admire, but I still can’t employ all the techniques that they have. It doesn’t work that way. I wish it did. I was a little naive coming into this, to be honest. I just thought I could put in the work and immediately be great. It takes time.

Q: What’s it like to be in acting class and have a bad day?

A: I think it depends on your personality. I very type A and like I said, I do like to see immediate results. If I had a good day, let’s say, last class, I’d expect to have a good day next level. If I see that I’m struggling with something that I thought I had already internalized, “Okay, I’m done with that, I have that now in my toolbox,” it frustrates me. I’d get down on myself. I have that inner critic that won’t shut up, and that’s the worst thing that you can do as an actor, actress. It’s not a good feeling, but it happens. Throughout the year, I’ve made peace with that. It’s part of the process.

Q: What’s it like to have a good day in acting class?

A: It’s the best. I go home, and I can’t shut up about it. I talk to my husband, I’m like, “Oh my God, I did this. I had the best exercise. My scene partner did this.” It’s just you feel so creatively fulfilled. I didn’t have a lot of creativity in my past life, coming from a business background. Not to say there isn’t creativity in business, but it’s a whole different ball game here. I love that. I love playing all out with myself.

Acting Programs New York – Maggie Flanigan Studio – (917) 789-1599

The Professional Acting Programs at the Maggie Flanigan Studio

Learn more about the Meisner Technique and why many professionally trained actors have chosen to study this technique. Students who are interested in applying to the Two-Year Acting Conservatory should visit the studio website (http://www.maggieflaniganstudio.com/) or call the studio (917-789-1599) with questions during regular studio hours.

The post Open and Vulnerable: Esma Kirim appeared first on Meisner Acting - The Maggie Flanigan Studio New York NY - 917-789-1599.

via Open and Vulnerable: Esma Kirim
by Maggie Flanigan

Acting Programs | Esma Kirim Interview | Maggie Flanigan Studio | Call 917-789-1599

Watch video on YouTube here: https://youtu.be/hWovhjuDags
via Maggie Flanigan Studio
via Acting Programs | Esma Kirim Interview | Maggie Flanigan Studio | Call 917-789-1599
by Maggie Flanigan

Open and Vulnerable: Esma Kirim

The professional acting programs at the Maggie Flanigan Studio train professional actors based on the Meisner technique and principles first taught by Sanford Meisner. Esma Kirim discusses with Katie some of the challenges she faced in the first year of the two-year acting program.

Q: Esma, what did you think Meisner training was before you started the two-year program?

A: To be honest, I didn't have a clue. In my way, I googled and researched acting, New York and a lot of different things came up. From what I understood, Meisner was a technique that could be applied to any role, to a theater, TV & Film and I liked that aspect. If I'm honest, I was very naive and I just kind of walked into it. Acting, I can do this. I interviewed at a few schools, and that was it.

Q: Now that you're finished with your first year, what do you think of the Meisner technique now?

A: It's been an enormous learning experience. I realized that the Meisner technique allows you to get to know yourself, which is very important in acting because any scene you get, you filter it through your own experiences, your feelings. You have to have a point of view. I appreciate that because it made me realize how much I go through my life without figuring out what I feel about something or how I feel about a particular situation.

I don't formulate my point of view. It was a tremendous learning experience in that sense. I got to know myself. In that way, I get to know how I feel about something and a truthful reaction comes out of that. I can see how that can be applied to any action. I love that.

Q: What did you learn about yourself this first year that was a big change?

A: I knew I could be shy sometimes. I didn't realize the extent to which I was holding back, like all the norms that were taught by the society of how we should act and also how a woman should work, was so ingrained in me. I think the first six, seven months really, it was me chipping away at that. It surprised me how I didn't have any freedom, and it was a struggle at times. It's uncomfortable trying to open up and be more vulnerable.

If I'm untruthful, I didn't always love the process, but now that I feel like I have broken down a lot of those walls, I feel so much freer. I think it's affecting other parts of my life positively as well because I'm just more open in all my relationships.

Q: What has this year taught you about the work ethic of an actor?

A: I'm used to working hard. As you said, I come from a business background. I went to business school. I ran my own retail company for six years. I guess in that way, and I was confident coming in as I'll just put in the work, and I'm going to see immediate results and be a great actress, which is true. You do need to put in the work. What was different was the growth and the results. They're not linear. I'm just used to putting in all the work, immediately seeing results because that's how you get success in other fields.

In acting, it can be very sporadic. It's like taking two steps forward, and a step back. You're learning how to react to other people, how to make it, how to listen. It's not something you can just read off a book. I've learned a lot of autobiographies of actors that I admire, but I still can't employ all the techniques that they have. It doesn't work that way. I wish it did. I was a little naive coming into this, to be honest. I just thought I could put in the work and immediately be great. It takes time.

Q: What's it like to be in acting class and have a bad day?

A: I think it depends on your personality. I very type A and like I said, I do like to see immediate results. If I had a good day, let's say, last class, I'd expect to have a good day next level. If I see that I'm struggling with something that I thought I had already internalized, "Okay, I'm done with that, I have that now in my toolbox," it frustrates me. I'd get down on myself. I have that inner critic that won't shut up, and that's the worst thing that you can do as an actor, actress. It's not a good feeling, but it happens. Throughout the year, I've made peace with that. It's part of the process.

Q: What's it like to have a good day in acting class?

A: It's the best. I go home, and I can't shut up about it. I talk to my husband, I'm like, "Oh my God, I did this. I had the best exercise. My scene partner did this." It's just you feel so creatively fulfilled. I didn't have a lot of creativity in my past life, coming from a business background. Not to say there isn't creativity in business, but it's a whole different ball game here. I love that. I love playing all out with myself.

The Professional Acting Programs at the Maggie Flanigan Studio

Learn more about the Meisner Technique and why many professionally trained actors have chosen to study this technique. Students who are interested in applying to the Two-Year Acting Conservatory should visit the studio website (http://www.maggieflaniganstudio.com/) or call the studio (917-789-1599) with questions during regular studio hours.

The above post Open and Vulnerable: Esma Kirim was first published on http://www.maggieflaniganstudio.com

via Open and Vulnerable: Esma Kirim
by Maggie Flanigan

Congratulations to Susan Pourfar

Congratulations to Maggie Flanigan Studio alumni Susan Pourfar on the leading role in ‘Mary Page Marlowe’ at Second Stage.

Acting Program New York – Susan Pourfar – Maggie Flanigan Studio – (917) 789-1599

Susan Pourfar’s Mid-Life Crisis in Mary Page Marlowe

“Mary Page Marlowe” is a deeply moving drama about an unremarkable life.

“A gripping play. Gorgeously acted with powerful American themes arising.”

Born after World War II, Marlowe harbored dreams of independence and adventure. That those dreams were never realized should surprise no fan of Tracy Letts’ powerful writing.

Six women (and a doll) portray the title character at stages of her life to near death. Susan Pourfar plays middle-aged Marlowe, an Ohio accountant, at 40 and 44. It’s a pivotal junction in Marlowe’s life when the decisions she makes will impact her two children indelibly.

“It totally intersects with the place I’m at in my life,” said Pourfar, a mother of two. “My first scene is with my kids, and I’m telling them about a plan to start a new life in Kentucky. I try everything I can do to enact this plan with love,” she said. Audiences can decide if she was successful or not.

Plans often go awry, a trope emphasized throughout the decades of Marlowe’s life of quiet desperation. In her 40s, Marlowe is battling her soon-to-be ex-husband and a drinking problem. Pourfar welcomes the challenge to portray a mature, experienced woman with more than the usual baggage.

“Most actors want to remain playing young but I, like my characters, want to be able to age fearlessly,” Pourfar said. “When I play Mary, she’s older and is dealing with issues people have at midlife,” she said. “She’s already had lots of experiences and I’m loving it, totally embracing it.”

She was attracted to the role because of her admiration for both the prize-winning playwright Letts and the director, Lila Neugebauer.

Susann Pourfar – Maggie Flanigan Studio Alumni – (917) 789-1599

“I think he’s one of the greatest living writers right now. To be able to participate in a Tracy Letts play is an honor,” Pourfar said. “It was on my bucket list.”

Marlowe’s life may seem ordinary on the surface, but to the actors playing her at different ages, it’s extraordinary. The formidable cast of 18 includes Blair Brown, Tatiana Maslany, Grace Gummer, Marcia DeBonis and David Aaron Baker. “All of the actors are amazing, and I especially hold Blair in such high regard,” Pourfar said. Brown plays Mary in her later years.

The character “is part of our everything,” Pourfar said. “What Mary Page goes through in her younger ages isn’t a picnic, and there’s deep searching in her 30s. She’s always questioning her identity and what her voice is,” she said. “Is it free volition or predetermination that makes a life?”

Portraying a woman close to her age has stretched Pourfar’s acting. “I don’t agree with her coping mechanisms, but I understand them,” she said. “She has to make difficult choices out of necessity, she wasn’t able to fall back onto a trust fund.” Marlowe is also less affectionate than Pourfar. Children are important to Marlowe, but she doesn’t mollycoddle them.

“She cares deeply, but she’s not soft and snuggly,” she said. “I had an impulse to hug them, or touch their hand and rub their backs, but that’s not this character’s impulses.”

An adult child of alcoholic parents, Marlowe grows up with a hard-wired survival mechanism and sharpness. “She has her own issues over the years,” Pourfar said. “Extra-marital affairs, drinking. She hits bottom in her 50s.”

Pourfar has been familiar with Letts’ work since her early performing arts days in school and arts camp. “I remember doing MAN FROM NEBRASKA for an acting class and I loved seeing BUG and of course AUGUST: OSAGE COUNTY,” she recalled.

“He writes with a dry humor, a dark humor, and if people get it, great. Mary Page is not a showman,” Pourfar said. “Most people at that age see the absurdity of life and you either have to laugh or die.”

For those in need of a reminder of their mortality, a cellphone app, WeCroak, sends subscribers pithy invitations five times a day to stop and contemplate death. “Blair has it and she told me she goes to the app every day,” Pourfar said. “It helps you contemplate life and kind of shakes you up to handle your business now,” she said with a laugh. “I haven’t gotten it yet but plan to.”

The assorted costume and wig design reflect the decades being lived in by each actor. “We have a wig and costume designer,” she said. “The way Mary looks reflects how she feels as well as the time she’s living in.

“It tells the audience how much attention she’s paying to her appearance. My wig is shaped like Princess Di’s. We have one blonde and one white-haired Mary. Once after the show someone said to me, ‘You look just like my mother,'” she said laughing.

The clothes are also time-appropriate. “Even the jeans are vintage. The designers found real clothes from those times. It’s completely detailed from start to finish,” Pourfar said.

Before shows, the large cast gathers for a hug and words of mutual encouragement. “I think everyone is here because of Tracy and Lila,” said Pourfar. “Even if it’s just for one scene, actors want to work with these people, be in the room.”

Pourfar has been reading books to help her further understand her character. “I’ve been reading a book for adult children of alcoholics for one,” she said. She’s also reading a book by Twyla Tharp about the creative process.

The actors rehearse four hours a day while in previews. “It’s exhausting,” Pourfar said, “but it’s important. I catch up on my sleep whenever I can.”

This article first appeared here: https://www.broadwayworld.com/article/BWW-Interview-Susan-Pourfars-Mid-Life-Crisis-in-MARY-PAGE-MARLOWE-20180709

The post Congratulations to Susan Pourfar appeared first on Meisner Acting - The Maggie Flanigan Studio New York NY - 917-789-1599.

via Congratulations to Susan Pourfar
by Maggie Flanigan

Congratulations to Susan Pourfar

Congratulations to Maggie Flanigan Studio alumni Susan Pourfar on the leading role in ‘Mary Page Marlowe’ at Second Stage.

Susan Pourfar's Mid-Life Crisis in Mary Page Marlowe

“Mary Page Marlowe” is a deeply moving drama about an unremarkable life.

“A gripping play. Gorgeously acted with powerful American themes arising.”

Born after World War II, Marlowe harbored dreams of independence and adventure. That those dreams were never realized should surprise no fan of Tracy Letts' powerful writing.

Six women (and a doll) portray the title character at stages of her life to near death. Susan Pourfar plays middle-aged Marlowe, an Ohio accountant, at 40 and 44. It's a pivotal junction in Marlowe's life when the decisions she makes will impact her two children indelibly.

"It totally intersects with the place I'm at in my life," said Pourfar, a mother of two. "My first scene is with my kids, and I'm telling them about a plan to start a new life in Kentucky. I try everything I can do to enact this plan with love," she said. Audiences can decide if she was successful or not.

Plans often go awry, a trope emphasized throughout the decades of Marlowe's life of quiet desperation. In her 40s, Marlowe is battling her soon-to-be ex-husband and a drinking problem. Pourfar welcomes the challenge to portray a mature, experienced woman with more than the usual baggage.

"Most actors want to remain playing young but I, like my characters, want to be able to age fearlessly," Pourfar said. "When I play Mary, she's older and is dealing with issues people have at midlife," she said. "She's already had lots of experiences and I'm loving it, totally embracing it."

She was attracted to the role because of her admiration for both the prize-winning playwright Letts and the director, Lila Neugebauer.

"I think he's one of the greatest living writers right now. To be able to participate in a Tracy Letts play is an honor," Pourfar said. "It was on my bucket list."

Marlowe's life may seem ordinary on the surface, but to the actors playing her at different ages, it's extraordinary. The formidable cast of 18 includes Blair Brown, Tatiana Maslany, Grace Gummer, Marcia DeBonis and David Aaron Baker. "All of the actors are amazing, and I especially hold Blair in such high regard," Pourfar said. Brown plays Mary in her later years.

The character "is part of our everything," Pourfar said. "What Mary Page goes through in her younger ages isn't a picnic, and there's deep searching in her 30s. She's always questioning her identity and what her voice is," she said. "Is it free volition or predetermination that makes a life?"

Portraying a woman close to her age has stretched Pourfar's acting. "I don't agree with her coping mechanisms, but I understand them," she said. "She has to make difficult choices out of necessity, she wasn't able to fall back onto a trust fund." Marlowe is also less affectionate than Pourfar. Children are important to Marlowe, but she doesn't mollycoddle them.

"She cares deeply, but she's not soft and snuggly," she said. "I had an impulse to hug them, or touch their hand and rub their backs, but that's not this character's impulses."

An adult child of alcoholic parents, Marlowe grows up with a hard-wired survival mechanism and sharpness. "She has her own issues over the years," Pourfar said. "Extra-marital affairs, drinking. She hits bottom in her 50s."

Pourfar has been familiar with Letts' work since her early performing arts days in school and arts camp. "I remember doing MAN FROM NEBRASKA for an acting class and I loved seeing BUG and of course AUGUST: OSAGE COUNTY," she recalled.

"He writes with a dry humor, a dark humor, and if people get it, great. Mary Page is not a showman," Pourfar said. "Most people at that age see the absurdity of life and you either have to laugh or die."

For those in need of a reminder of their mortality, a cellphone app, WeCroak, sends subscribers pithy invitations five times a day to stop and contemplate death. "Blair has it and she told me she goes to the app every day," Pourfar said. "It helps you contemplate life and kind of shakes you up to handle your business now," she said with a laugh. "I haven't gotten it yet but plan to."

The assorted costume and wig design reflect the decades being lived in by each actor. "We have a wig and costume designer," she said. "The way Mary looks reflects how she feels as well as the time she's living in.

"It tells the audience how much attention she's paying to her appearance. My wig is shaped like Princess Di's. We have one blonde and one white-haired Mary. Once after the show someone said to me, 'You look just like my mother,'" she said laughing.

The clothes are also time-appropriate. "Even the jeans are vintage. The designers found real clothes from those times. It's completely detailed from start to finish," Pourfar said.

Before shows, the large cast gathers for a hug and words of mutual encouragement. "I think everyone is here because of Tracy and Lila," said Pourfar. "Even if it's just for one scene, actors want to work with these people, be in the room."

Pourfar has been reading books to help her further understand her character. "I've been reading a book for adult children of alcoholics for one," she said. She's also reading a book by Twyla Tharp about the creative process.

The actors rehearse four hours a day while in previews. "It's exhausting," Pourfar said, "but it's important. I catch up on my sleep whenever I can."

This article first appeared here: https://www.broadwayworld.com/article/BWW-Interview-Susan-Pourfars-Mid-Life-Crisis-in-MARY-PAGE-MARLOWE-20180709

The previous post Congratulations to Susan Pourfar was first seen on http://maggieflaniganstudio.com/

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by Maggie Flanigan

new york acting program - maggie flanigan studio - IAN HAYES

Ian Hayes: the First Year in the Acting Program Q: Ian, what did you think the Meisner technique was before you started your training at the studio? A: All I really heard about it was that this is a bunch of repetition and somehow that made you a better actor. I really had no idea. When I decided to come to this school, I talked about it with some people that had done some other acting training. Only a few of them had ever just taken the first year now, but I know and they were like, “It's amazing. Really, the repetition it really teaches you what it is you offer,” or something like that. I don’t know, I thought somehow that was the basis for it. Now, the way I understand it is that the Meisner technique is really a way for you to learn how truthfully do and that repetition is having just the tip of the iceberg. It’s more of a tool as opposed to the technique. Meisner teaches you how to do it in a healthy way, which is what I love about it since it is all rooted in the imagination, which is darkness and it's always changing. I love that about the technique because I thought that I had to be very damaged human being to be a good actor, to have the experience to draw from and Meisner says, “No. As long as you have that healthy imagination, you can put yourself in very traumatizing or joyful experiences,” and like, “That's really what you need to be an actor.” That’s how I see it now. It’s a way back to your inner child to use your imagination and strangely, use your imagination to do it truthfully. Q: Why did you decide to study at Maggie Flanigan Studio? There are a lot of different Meisner studios, different teachers, why did you decide this place was the best place for you? A: Two reasons. I eventually went to a larger college. I came from a very small town and I thought I wanted that, which I think did me well, but I hated being a number. I did not complete college and I think, that had a lot to do with it. When I knew that I wanted something, a more rigorous training in acting, a big part about it for me was the community. Will the teacher know who I am? Will they know what I’m late? Will I know the other students? Will people care if I am there or if I'm doing what I'm supposed to be doing or not? Because at the school I was at, I didn’t get that at all. I kind of just went, “Well, screw everyone." I’m much younger, then. Reason two is honestly just when I met with Charlie. I was looking at a Michael Chekhov studio as well in Boston. It’s the only serious studio in Boston. I met with Charlie in my initial interview and he told me the schedule. I went back to the teacher and head of that Chekhov studio and- who actually I later found out had worked with Maggie years ago. He also teaches the Meisner Technique. So I really- I believe in it and I think Chekhov is the perfect-- Anyways, when I told them Charlie's schedule, this guy said, "There is no way you're telling me that this guy does nine hours for this every week.” I said, "Well, yes.” He was like, "There’s no way it's possible." To me, I said, "Well, okay. It is because that's what he does, therefore, I definitely want to go to this guy." Because he obviously takes it much more seriously and that’s just what right to me. I was like, "I'm definitely going to learn a lot more from Charlie than the other guy who won't give that to his students or to the craft, teaching how to act.” Those are the two big reasons for me. Q: Now that you're done with your first year, what did you learn about yourself this year that was a surprise or that changed you? A: For me, honestly, I learned that I could finish something on my own. That was a big thing because I didn't finish college, a typical academic college. I think the biggest thing, honestly, is that my emotional well, so to speak, or spectrum is way more grand than I thought. I thought that just from different life experiences that I've kind of lost my ability to cry, my ability to really feel sad or empathy or be vulnerable in certain situations. This program told me that I'm still a human. That has been huge for me and has really improved my relationships with myself and with those closest to me. That is hugely gratifying and fortunate. The other thing, too, I guess, that I found out what that hard work means. I found out that I'm not afraid to fail, which- I don't want to say I didn't know about myself because I tried a lot of different things. Obviously, things didn't work out as I had maybe hoped, but to fail day in and day out and walk away alive and okay is also huge for me. This program really puts you through that gauntlet and through that trial and tribulation. I feel very happy that I can do it. Q: What's it like to have a bad day in acting class? A: It's still worst, but really, the only way to have a bad day in acting class, is when you don't do the work outside of class. That's why it's the worst because you have no one to blame except for yourself, which is in one side, it feels awful, but then in the other side, well, that's something I can fix. It's not hopeless. It's not out of my control. It's when you know you didn't do the work and at this program, which I love about it, there's no hiding. You can't slip through and slide through things. It really teaches you how to be accountable for yourself. The worst days for me were when I had to deal with that about myself. Letting yourself down really is the worst. You think it's letting Charlie down, but in the end, it's really you let yourself down. That's the worst part about it. Q: On the opposite, what is it like to have a breakthrough in class or a good day? A: It's usually very emotional and it's intense. It just means that you let yourself release. I don't know. It feels amazing. I don't know. It feels so many things. It's very intangible, but it’s a very intense experience. Then, you come out and you're alive and you're still yourself. It was imaginary and you can just kind of sit there and go, "Yes. I did that. I went there." Also, it's just a very educational experience because you did the things right outside of class that allowed you to go there. It connects dots. That is also huge, gratifying and enlightening experience when you have a good day and you’re like, "Wow. Okay, I had a good day because X, Y, and Z. I did X, Y, and Z. Now, I understand how that works and how these pieces fit together to bring about this experience.” Maggie Flanigan Studio 153 W 27th St #803 New York, New York 10001 +1 917-789-1599 www.maggieflaniganstudio.com/ goo.gl/maps/oxqqExybwL32 plus.google.com/112291205845820496849 https://flic.kr/p/286a82m

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by Maggie Flanigan

two year acting acting program new york - maggie flanigan studio 01 - (917) 789-1599

During this interview Ian Hayes talks with Katie about the first year in the professional acting program at the Maggie Flanigan Studio. Ian discusses what he thought the Meisner Technique was before he came to the studio, why he chose this acting studio and what it is like to have both good and bad days in acting classes. Maggie Flanigan Studio 153 W 27th St #803 New York, New York 10001 +1 917-789-1599 www.maggieflaniganstudio.com/ goo.gl/maps/oxqqExybwL32 plus.google.com/112291205845820496849 https://flic.kr/p/297cCvb

via two year acting acting program new york - maggie flanigan studio 01 - (917) 789-1599
by Maggie Flanigan

professional acting program in new york - maggie flanigan studio

Learn more about the Maggie Flanigan Studio and why many actors consider this program to be the best in New York and the U.S. by visiting the studio website 9 URL ). Admission to the studio is by interview only, so interested students should contact the studio to arrange an interview. Maggie Flanigan Studio 153 W 27th St #803 New York, New York 10001 +1 917-789-1599 www.maggieflaniganstudio.com/ goo.gl/maps/oxqqExybwL32 plus.google.com/112291205845820496849 https://flic.kr/p/297cCw3

via professional acting program in new york - maggie flanigan studio
by Maggie Flanigan

new york acting programs - maggie flanigan studio - Ian Hayes 02

Ian Hayes: the First Year in the Acting Program Q: Ian, what did you think the Meisner technique was before you started your training at the studio? A: All I really heard about it was that this is a bunch of repetition and somehow that made you a better actor. I really had no idea. When I decided to come to this school, I talked about it with some people that had done some other acting training. Only a few of them had ever just taken the first year now, but I know and they were like, “It's amazing. Really, the repetition it really teaches you what it is you offer,” or something like that. I don’t know, I thought somehow that was the basis for it. Now, the way I understand it is that the Meisner technique is really a way for you to learn how truthfully do and that repetition is having just the tip of the iceberg. It’s more of a tool as opposed to the technique. Meisner teaches you how to do it in a healthy way, which is what I love about it since it is all rooted in the imagination, which is darkness and it's always changing. I love that about the technique because I thought that I had to be very damaged human being to be a good actor, to have the experience to draw from and Meisner says, “No. As long as you have that healthy imagination, you can put yourself in very traumatizing or joyful experiences,” and like, “That's really what you need to be an actor.” That’s how I see it now. It’s a way back to your inner child to use your imagination and strangely, use your imagination to do it truthfully. Maggie Flanigan Studio 153 W 27th St #803 New York, New York 10001 +1 917-789-1599 www.maggieflaniganstudio.com/ goo.gl/maps/oxqqExybwL32 plus.google.com/112291205845820496849 https://flic.kr/p/27NvsR4

via new york acting programs - maggie flanigan studio - Ian Hayes 02
by Maggie Flanigan

new york acting program - maggie flanigan studio - Ian Hayes 03

Q: Why did you decide to study at Maggie Flanigan Studio? There are a lot of different Meisner studios, different teachers, why did you decide this place was the best place for you? A: Two reasons. I eventually went to a larger college. I came from a very small town and I thought I wanted that, which I think did me well, but I hated being a number. I did not complete college and I think, that had a lot to do with it. When I knew that I wanted something, a more rigorous training in acting, a big part about it for me was the community. Will the teacher know who I am? Will they know what I’m late? Will I know the other students? Will people care if I am there or if I'm doing what I'm supposed to be doing or not? Because at the school I was at, I didn’t get that at all. I kind of just went, “Well, screw everyone." I’m much younger, then. Reason two is honestly just when I met with Charlie. I was looking at a Michael Chekhov studio as well in Boston. It’s the only serious studio in Boston. I met with Charlie in my initial interview and he told me the schedule. I went back to the teacher and head of that Chekhov studio and- who actually I later found out had worked with Maggie years ago. He also teaches the Meisner Technique. So I really- I believe in it and I think Chekhov is the perfect-- Anyways, when I told them Charlie's schedule, this guy said, "There is no way you're telling me that this guy does nine hours for this every week.” I said, "Well, yes.” He was like, "There’s no way it's possible." To me, I said, "Well, okay. It is because that's what he does, therefore, I definitely want to go to this guy." Because he obviously takes it much more seriously and that’s just what right to me. I was like, "I'm definitely going to learn a lot more from Charlie than the other guy who won't give that to his students or to the craft, teaching how to act.” Those are the two big reasons for me. Maggie Flanigan Studio 153 W 27th St #803 New York, New York 10001 +1 917-789-1599 www.maggieflaniganstudio.com/ goo.gl/maps/oxqqExybwL32 plus.google.com/112291205845820496849 https://flic.kr/p/27NvsRz

via new york acting program - maggie flanigan studio - Ian Hayes 03
by Maggie Flanigan

acting programs new york - maggie flanigan studio 01 - (917) 789-1599

Q: Now that you're done with your first year, what did you learn about yourself this year that was a surprise or that changed you? A: For me, honestly, I learned that I could finish something on my own. That was a big thing because I didn't finish college, a typical academic college. I think the biggest thing, honestly, is that my emotional well, so to speak, or spectrum is way more grand than I thought. I thought that just from different life experiences that I've kind of lost my ability to cry, my ability to really feel sad or empathy or be vulnerable in certain situations. This program told me that I'm still a human. That has been huge for me and has really improved my relationships with myself and with those closest to me. That is hugely gratifying and fortunate. The other thing, too, I guess, that I found out what that hard work means. I found out that I'm not afraid to fail, which- I don't want to say I didn't know about myself because I tried a lot of different things. Obviously, things didn't work out as I had maybe hoped, but to fail day in and day out and walk away alive and okay is also huge for me. This program really puts you through that gauntlet and through that trial and tribulation. I feel very happy that I can do it. Q: What's it like to have a bad day in acting class? A: It's still worst, but really, the only way to have a bad day in acting class, is when you don't do the work outside of class. That's why it's the worst because you have no one to blame except for yourself, which is in one side, it feels awful, but then in the other side, well, that's something I can fix. It's not hopeless. It's not out of my control. It's when you know you didn't do the work and at this program, which I love about it, there's no hiding. You can't slip through and slide through things. It really teaches you how to be accountable for yourself. The worst days for me were when I had to deal with that about myself. Letting yourself down really is the worst. You think it's letting Charlie down, but in the end, it's really you let yourself down. That's the worst part about it. Maggie Flanigan Studio 153 W 27th St #803 New York, New York 10001 +1 917-789-1599 www.maggieflaniganstudio.com/ goo.gl/maps/oxqqExybwL32 plus.google.com/112291205845820496849 https://flic.kr/p/297cCCA

via acting programs new york - maggie flanigan studio 01 - (917) 789-1599
by Maggie Flanigan

2018 acting program - maggie flanigan studio 01 - (917) 789-1599

Q: On the opposite, what is it like to have a breakthrough in class or a good day? A: It's usually very emotional and it's intense. It just means that you let yourself release. I don't know. It feels amazing. I don't know. It feels so many things. It's very intangible, but it’s a very intense experience. Then, you come out and you're alive and you're still yourself. It was imaginary and you can just kind of sit there and go, "Yes. I did that. I went there." Also, it's just a very educational experience because you did the things right outside of class that allowed you to go there. It connects dots. That is also huge, gratifying and enlightening experience when you have a good day and you’re like, "Wow. Okay, I had a good day because X, Y, and Z. I did X, Y, and Z. Now, I understand how that works and how these pieces fit together to bring about this experience.” Maggie Flanigan Studio 153 W 27th St #803 New York, New York 10001 +1 917-789-1599 www.maggieflaniganstudio.com/ goo.gl/maps/oxqqExybwL32 plus.google.com/112291205845820496849 https://flic.kr/p/297cCLm

via 2018 acting program - maggie flanigan studio 01 - (917) 789-1599
by Maggie Flanigan

Ian Hayes – The First Year in the Acting Program

During this interview, Ian Hayes talks with Katie about the first year in the professional acting program at the Maggie Flanigan Studio. Ian discusses what he thought the Meisner Technique was before he came to the studio, why he chose this acting studio and what it is like to have both good and bad days in acting classes.

Ian Hayes: the First Year in the Acting Program

Q: Ian, what did you think the Meisner technique was before you started your training at the studio?

A: All I really heard about it was that this is a bunch of repetition and somehow that made you a better actor. I really had no idea. When I decided to come to this school, I talked about it with some people that had done some other acting training. Only a few of them had ever just taken the first year now, but I know, and they were like, “It's amazing. Really, the repetition it really teaches you what it is you offer,” or something like that. I don’t know, I thought somehow that was the basis for it. Now, the way I understand it is that the Meisner technique is really a way for you to learn how truthfully do and that repetition is having just the tip of the iceberg.

It’s more of a tool as opposed to the technique. Meisner teaches you how to do it in a healthy way, which is what I love about it since it is all rooted in the imagination, which is darkness and it's always changing. I love that about the technique because I thought that I had to be very damaged human being to be a good actor, to have the experience to draw from and Meisner says, “No. As long as you have that healthy imagination, you can put yourself in very traumatizing or joyful experiences,” and like, “That's really what you need to be an actor.” That’s how I see it now. It’s a way back to your inner child to use your imagination and strangely, use your imagination to do it truthfully.

Q: Why did you decide to study at Maggie Flanigan Studio?

A: Two reasons. I eventually went to a larger college. I came from a tiny town and I thought I wanted that, which I think did me well, but I hated being a number. I did not complete college, and I think, that had a lot to do with it. When I knew that I wanted something, more rigorous training in acting, a big part about it for me was the community. Will the teacher know who I am? Will they know what I’m late? Will I know the other students? Will people care if I am there or if I'm doing what I'm supposed to be doing or not? Because at the school I was at, I didn’t get that at all. I kind of just went, “Well, screw everyone." I’m much younger, then.

Reason two is honestly just when I met with Charlie. I was looking at a Michael Chekhov studio as well in Boston. It’s the only serious studio in Boston. I met with Charlie in my initial interview, and he told me the schedule. I went back to the teacher and head of that Chekhov studio and- who actually I later found out had worked with Maggie years ago. He also teaches the Meisner Technique. So I really- I believe in it, and I think Chekhov is perfect-- Anyways, when I told them Charlie's schedule, this guy said, "There is no way you're telling me that this guy does nine hours for this every week.”

I said, "Well, yes.” He was like, "There’s no way it's possible." To me, I said, "Well, okay. It is because that's what he does; therefore, I definitely want to go to this guy." Because he obviously takes it much more seriously and that’s just what right to me. I was like, "I'm definitely going to learn a lot more from Charlie than the other guy who won't give that to his students or to the craft, teaching how to act.” Those are the two big reasons for me.

Q: Now that you're done with your first year, what did you learn about yourself this year that was a surprise?

A: For me, honestly, I learned that I could finish something on my own. That was a big thing because I didn't finish college, a typical academic college. I think the biggest thing, honestly, is that my emotional well, so to speak, or spectrum is way grander than I thought. I thought that just from different life experiences that I've kind of lost my ability to cry, my ability to feel sad really or empathy or be vulnerable in certain situations. This program told me that I'm still a human. That has been huge for me and has really improved my relationships with myself and with those closest to me.

That is hugely gratifying and fortunate. The other thing, too, I guess, that I found out what that hard work means. I found out that I'm not afraid to fail, which- I don't want to say I didn't know about myself because I tried a lot of different things. Obviously, things didn't work out as I had maybe hoped, but to fail day in and day out and walk away alive and okay is also huge for me. This program really puts you through that gauntlet and through that trial and tribulation. I feel thrilled that I can do it.

Q: What's it like to have a bad day in acting class?

A: It's still worst, but really, the only have a terrible day in acting class, when you don't do the work outside of class. That's why it's the worst because you have no one to blame except for yourself, which is in one side, it feels awful, but then in the other hand, well, that's something I can fix. It's not hopeless. It's not out of my control. It's when you know you didn't do the work and at this program, which I love about it, there's no hiding. You can't slip through and slide through things.

It really teaches you how to be accountable for yourself. The worst days for me were when I had to deal with that about myself. Letting yourself down really is the worst. You think it's letting Charlie down, but in the end, it's really you let yourself down. That's the worst part about it.

Q: What is it like to have a breakthrough in class or a good day?

A: It's usually very emotional, and it's intense. It just means that you let yourself release. I don't know. It feels amazing. I don't know. It feels like so many things. It's very intangible, but it’s a very intense experience. Then, you come out, and you're alive, and you're still yourself. It was imaginary and you can just kind of sit there and go, "Yes. I did that. I went there."

Also, it's just a very educational experience because you did the things right outside of class that allowed you to go there. It connects dots. That is also a huge, gratifying and enlightening experience when you have a good day, and you’re like, "Wow. Okay, I had a good day because of X, Y, and Z. I did X, Y, and Z. Now, I understand how that works and how these pieces fit together to bring about this experience.”

Learn More About the Two Year Acting Program in New York

Learn more about the Maggie Flanigan Studio and why many actors consider this acting program to be the best in New York and the U.S. by visiting the studio website ( http://www.maggieflaniganstudio.com/ ). Admission to the acting studio is by interview only, so interested students should contact the studio to arrange an interview.

The preceding blog post Ian Hayes – The First Year in the Acting Program is available on http://maggieflaniganstudio.com/

via Ian Hayes – The First Year in the Acting Program
by Maggie Flanigan

Ian Hayes – The First Year in the Acting Program

During this interview, Ian Hayes talks with Katie about the first year in the professional acting program at the Maggie Flanigan Studio. Ian discusses what he thought the Meisner Technique was before he came to the studio, why he chose this acting studio and what it is like to have both good and bad days in acting classes.

New York Acting Program – Maggie Flanigan Studio – Ian Hayes

Ian Hayes: the First Year in the Acting Program

Q: Ian, what did you think the Meisner technique was before you started your training at the studio?

A: All I really heard about it was that this is a bunch of repetition and somehow that made you a better actor. I really had no idea. When I decided to come to this school, I talked about it with some people that had done some other acting training. Only a few of them had ever just taken the first year now, but I know, and they were like, “It’s amazing. Really, the repetition it really teaches you what it is you offer,” or something like that. I don’t know, I thought somehow that was the basis for it. Now, the way I understand it is that the Meisner technique is really a way for you to learn how truthfully do and that repetition is having just the tip of the iceberg.

"This program really teaches you how to be accountable for yourself. There's no hiding. You can't slip through and slide through things."

Ian HayesFirst Year Student, Two-Year Acting Program

It’s more of a tool as opposed to the technique. Meisner teaches you how to do it in a healthy way, which is what I love about it since it is all rooted in the imagination, which is darkness and it’s always changing. I love that about the technique because I thought that I had to be very damaged human being to be a good actor, to have the experience to draw from and Meisner says, “No. As long as you have that healthy imagination, you can put yourself in very traumatizing or joyful experiences,” and like, “That’s really what you need to be an actor.” That’s how I see it now. It’s a way back to your inner child to use your imagination and strangely, use your imagination to do it truthfully.

Q: Why did you decide to study at Maggie Flanigan Studio?

A: Two reasons. I eventually went to a larger college. I came from a tiny town and I thought I wanted that, which I think did me well, but I hated being a number. I did not complete college, and I think, that had a lot to do with it. When I knew that I wanted something, more rigorous training in acting, a big part about it for me was the community. Will the teacher know who I am? Will they know what I’m late? Will I know the other students? Will people care if I am there or if I’m doing what I’m supposed to be doing or not? Because at the school I was at, I didn’t get that at all. I kind of just went, “Well, screw everyone.” I’m much younger, then.

Reason two is honestly just when I met with Charlie. I was looking at a Michael Chekhov studio as well in Boston. It’s the only serious studio in Boston. I met with Charlie in my initial interview, and he told me the schedule. I went back to the teacher and head of that Chekhov studio and- who actually I later found out had worked with Maggie years ago. He also teaches the Meisner Technique. So I really- I believe in it, and I think Chekhov is perfect– Anyways, when I told them Charlie’s schedule, this guy said, “There is no way you’re telling me that this guy does nine hours for this every week.”

I said, “Well, yes.” He was like, “There’s no way it’s possible.” To me, I said, “Well, okay. It is because that’s what he does; therefore, I definitely want to go to this guy.” Because he obviously takes it much more seriously and that’s just what right to me. I was like, “I’m definitely going to learn a lot more from Charlie than the other guy who won’t give that to his students or to the craft, teaching how to act.” Those are the two big reasons for me.

Q: Now that you’re done with your first year, what did you learn about yourself this year that was a surprise?

A: For me, honestly, I learned that I could finish something on my own. That was a big thing because I didn’t finish college, a typical academic college. I think the biggest thing, honestly, is that my emotional well, so to speak, or spectrum is way grander than I thought. I thought that just from different life experiences that I’ve kind of lost my ability to cry, my ability to feel sad really or empathy or be vulnerable in certain situations. This program told me that I’m still a human. That has been huge for me and has really improved my relationships with myself and with those closest to me.

That is hugely gratifying and fortunate. The other thing, too, I guess, that I found out what that hard work means. I found out that I’m not afraid to fail, which- I don’t want to say I didn’t know about myself because I tried a lot of different things. Obviously, things didn’t work out as I had maybe hoped, but to fail day in and day out and walk away alive and okay is also huge for me. This program really puts you through that gauntlet and through that trial and tribulation. I feel thrilled that I can do it.

Q: What’s it like to have a bad day in acting class?

A: It’s still worst, but really, the only have a terrible day in acting class, when you don’t do the work outside of class. That’s why it’s the worst because you have no one to blame except for yourself, which is in one side, it feels awful, but then in the other hand, well, that’s something I can fix. It’s not hopeless. It’s not out of my control. It’s when you know you didn’t do the work and at this program, which I love about it, there’s no hiding. You can’t slip through and slide through things.

It really teaches you how to be accountable for yourself. The worst days for me were when I had to deal with that about myself. Letting yourself down really is the worst. You think it’s letting Charlie down, but in the end, it’s really you let yourself down. That’s the worst part about it.

Q: What is it like to have a breakthrough in class or a good day?

A: It’s usually very emotional, and it’s intense. It just means that you let yourself release. I don’t know. It feels amazing. I don’t know. It feels like so many things. It’s very intangible, but it’s a very intense experience. Then, you come out, and you’re alive, and you’re still yourself. It was imaginary and you can just kind of sit there and go, “Yes. I did that. I went there.”

Also, it’s just a very educational experience because you did the things right outside of class that allowed you to go there. It connects dots. That is also a huge, gratifying and enlightening experience when you have a good day, and you’re like, “Wow. Okay, I had a good day because of X, Y, and Z. I did X, Y, and Z. Now, I understand how that works and how these pieces fit together to bring about this experience.”

Two Year Acting Program New York – Maggie Flanigan Studio – (917) 789-1599

Learn More About the Two Year Acting Program in New York

Learn more about the Maggie Flanigan Studio and why many actors consider this acting program to be the best in New York and the U.S. by visiting the studio website ( http://www.maggieflaniganstudio.com/ ). Admission to the acting studio is by interview only, so interested students should contact the studio to arrange an interview.

The post Ian Hayes – The First Year in the Acting Program appeared first on Meisner Acting - The Maggie Flanigan Studio New York NY - 917-789-1599.

via Ian Hayes – The First Year in the Acting Program
by Maggie Flanigan

Finding the Right Acting Teacher

Charlie Sandlan is the executive director and head of acting at the Maggie Flanigan Studio. In this blog post, Charlie discusses the qualities of the best acting teacher.

What Are the Qualities of the Best Acting Teachers?

So you are in NYC or LA and have been hopping from acting class to acting class, frustrated by the lack of seriousness of your classmates, and a teacher who isn’t pushing you or even giving you a clear idea of what you need to work on to fix your acting. How many times do you find yourself doing a memorized monologue or scene, and hearing a few comments from the teacher, a “good job”, or fed some line readings, and off you go until next week’s redundant class? I interview so many students who are aching to be really taught and criticized.

The question that many aspiring actors don’t know how to answer when looking for an acting training program is, “What kind of teacher should I actually be looking for?

I believe that great teachers should be able to offer a few things:

A good acting teacher should set a very high bar. Have you ever found yourself in a class with actors who aren’t serious? They come and go when it's convenient, show up late and leave early, aren’t interested in rehearsing, and you have a teacher who does nothing about it. If you really want a career as a professional actor, then it’s important to understand what the word “professional” actually means. Showing up on time, not missing class, coming prepared, and rehearsing consistently should be non-negotiable.

Good acting teachers should never be abusive or criticize you in a personal, inappropriate way. There are quite a few teachers who look to embarrass or humiliate their students. The criticism you receive should always be about the work, and never personal.

The best acting teacher should not only push you but also have the capacity to inspire in you the desire to play full out with yourself and provide you with a process to help you become the serious actor you desire to be.

A trustworthy acting teacher should also be able to provide a safe, nurturing, and supportive environment for you to begin the hard work of becoming more open, and vulnerable. You should be challenged to never accept your second best, encouraged to operate outside of your comfort zone, and given the permission and freedom to fail.

Any good acting teacher or instructor should also interview you personally when you apply, giving you an opportunity to ask questions and get a sense if he/she is really interested in investing their energy into you, or whether you are just another number and dollar sign.

Finding the best acting teachers for you is one of the most important decisions to make when searching for actor training programs. If you are aching to be really pushed, then make sure you do your due diligence. You don’t want to throw your money away.

About the Acting Teachers at Maggie Flanigan Studio

Learn more about the acting teachers at Maggie Flanigan Studio and the professional actor training programs that the studio provides by visiting the studio website ( http://www.maggieflaniganstudio.com/ ). Interested actors with questions about the two-year program should call the drama school during weekday hours at 917-789-1599.

The previous post Finding the Right Acting Teacher is republished from Acting Classes NYC

via Finding the Right Acting Teacher
by Maggie Flanigan

Finding the Right Acting Teacher

Charlie Sandlan is the executive director and head of acting at the Maggie Flanigan Studio. In this blog post, Charlie discusses the qualities of the best acting teacher.

Finding the Right Acting Teachers – Maggie Flanigan Studio

What Are the Qualities of the Best Acting Teachers?

So you are in NYC or LA and have been hopping from acting class to acting class, frustrated by the lack of seriousness of your classmates, and a teacher who isn’t pushing you or even giving you a clear idea of what you need to work on to fix your acting. How many times do you find yourself doing a memorized monologue or scene, and hearing a few comments from the teacher, a “good job”, or fed some line readings, and off you go until next week’s redundant class? I interview so many students who are aching to be really taught and criticized.

The question that many aspiring actors don’t know how to answer when looking for an acting training program is, “What kind of teacher should I actually be looking for?

"A good acting teacher should not only push you but also have the capacity to inspire in you the desire to play full out with yourself and provide you with a process to help you become the serious actor you desire to be."

Charlie SandlanHead of Acting, Executive Director

I believe that great teachers should be able to offer a few things:

A good acting teacher should set a very high bar. Have you ever found yourself in a class with actors who aren’t serious? They come and go when it’s convenient, show up late and leave early, aren’t interested in rehearsing, and you have a teacher who does nothing about it. If you really want a career as a professional actor, then it’s important to understand what the word “professional” actually means. Showing up on time, not missing class, coming prepared, and rehearsing consistently should be non-negotiable.

Good acting teachers should never be abusive or criticize you in a personal, inappropriate way. There are quite a few teachers who look to embarrass or humiliate their students. The criticism you receive should always be about the work, and never personal.

The best acting teacher should not only push you but also have the capacity to inspire in you the desire to play full out with yourself and provide you with a process to help you become the serious actor you desire to be.

A trustworthy acting teacher should also be able to provide a safe, nurturing, and supportive environment for you to begin the hard work of becoming more open, and vulnerable. You should be challenged to never accept your second best, encouraged to operate outside of your comfort zone, and given the permission and freedom to fail.

Any good acting teacher or instructor should also interview you personally when you apply, giving you an opportunity to ask questions and get a sense if he/she is really interested in investing their energy into you, or whether you are just another number and dollar sign.

Finding the best acting teachers for you is one of the most important decisions to make when searching for actor training programs. If you are aching to be really pushed, then make sure you do your due diligence. You don’t want to throw your money away.

Best Acting Teachers – Maggie Flanigan Studio 917-789-1599

About the Acting Teachers at Maggie Flanigan Studio

Learn more about the acting teachers at Maggie Flanigan Studio and the professional actor training programs that the studio provides by visiting the studio website ( http://www.maggieflaniganstudio.com/ ). Interested actors with questions about the two-year program should call the drama school during weekday hours at 917-789-1599.

The post Finding the Right Acting Teacher appeared first on Meisner Acting - The Maggie Flanigan Studio New York NY - 917-789-1599.

via Finding the Right Acting Teacher
by Maggie Flanigan