No More Whining and Complaining

The Fall Meisner Intensive at Maggie Flanigan Studio introduces actors to the Meisner technique precisely as Sanford Meisner intended. Ben Stone talks about the six-week program and the similarities between training to play football and professional actor training.

Fall Meisner Intensive Ben Stone – Maggie Flanigan Studio

Ben Stone Interview: No More Whining and Complaining

Q: Ben, what did you think it meant to train as an actor before you started the six-week intensive at Maggie Flanigan Studio?

A: Frankly, I didn’t know so much. It seemed like to be an actor you needed to read a lot of plays and take as many classes as you can, but this has given a high level of specificity to the training, it seems more like training. I played football, so I tried to bring the work ethic of a football player to this, and now it has directions, so it’s a lot easier to work hard. It’s not just this weird abstract idea of good and evil.

The Meisner intensive helped me find a way to direct my intensity, passion and work ethic to the craft of acting. I feel much more connected to what I'm doing, and it feels much more natural.

Ben StoneStudent, Meisner Summer Intensive

Q: Now that you’re finishing the Meisner intensive what do you think it means to train as an actor?

A: Now it means you have to have such a great, a deep understanding of yourself. It’s not just ideas about society and beliefs about people; it’s you– It’s bringing what you wanted about yourself into scenes and into everything you do and be more aware of how you feel about things. Not just physically feel but emotionally feel and being in touch with those emotions, and it is okay to be in contact with those emotions.

The Fall Meisner Intensive Begins – Fall Meisner Intensive Program – Call (917) 789-1599

Q: What happened to you over the six-week intensive specifically that changed your perspective?

A: It was one day when we moved on to the independent activity, and I just flipped out, just totally freaked out. I’m a big guy for most of my life trying not to freak out because I am a big scary guy and it’s not societally acceptable. That was like a light bulb moment it’s like, “That’s what Charlie, he’s got to be alive in that,” yes, that was the aha moment. Before with just the repetition, it’s like I couldn’t figure it out really, but then the light bulb went off, and my work felt a lot better.

Q: What did you learn about yourself over the past six weeks that was a surprise?

A: I have a lot more pent of aggression than I thought. I am a lot more intolerant of little things people do than I thought, things that annoy me, things that I don’t think are acceptable for other people to do. I’ve become a lot more aware of that instead of just suppressing it because you can’t just pick apart everybody, nobody wants to be around you. Just being more aware of it has helped me be more observant; which has been tremendous.

Q: You mentioned previously you studied at some other studios or another studio, how has your experience at Maggie Flanigan Studio been different from the other studios you’ve studied at?

A: Well, in some ways it’s a lot more about, let’s get to work. We can have fun, but it’s about we’re working hard. We’re learning, we’re trying to grow, we’re trying to get better, and that’s the core, the root of everything. On top of that, as I said before, it’s a lot more specific. People know what they’re talking about. There are noticeable changes and improvements that I’ve gone through just personally. Frankly, I don’t know what the perception of my work has been, but for me observing or trying to find myself, I feel much more connected to what I’m doing, and it feels much more natural, and it’s easier to get going.

Q: Coming from an athletic background, how have you seen the similarities?

A: I’ve trained so hard and so intensely for so long at sports, that when there is something I care about, and I want to be good at if I can’t find it, I get frustrated. Especially if it’s something I don’t know that much about, if I can’t see a teacher that can create that level of intensity, it drives me crazy. It drives me nuts. I spent so much time training for sports, and it’s been a trip trying to figure out how to apply that same intensity and work ethic and passion to something where I’m not headbutting people.

Because it’s, in some ways, so similar because you have to work so hard and you have to be so aware everything that you’re doing, and you’ve got to love it. You have got no business doing it because there is so much work and time and effort involved. At the same time, it’s so different because I played tight end and I played defensive end. These are big guys slamming into each other which is entirely different. That level of aggression and that level of violence and contact and physicality is almost wholly absent from this.

The Fall Meisner Intensive Begins – Fall Meisner Intensive Program – Call (917) 789-1599

Finding a way to apply the energy and the desire to learn and grow and do well to something not physical in the same way, has been tough but the level– like I said, the level of specificity; knowing what we’re talking about so we can throw ourselves at it. Because we’re not questioning like, “This doesn’t make any sense, why are we doing this?” has been fantastic and that it’s given me an outlet for all of this energy. I feel like I’m growing because of it.

It is about taking control of your emotions because there are penalties and there are fines. With the acting, it’s like exploding emotionally but then also analyzing it.

“I feel this way.” It might not be as in depth as like, “Why do I feel?” We’re not psychologists, but it recognizes that you feel this way and something made you think this way. It has been great.

Q: How would you describe Charlie as a teacher?

A: Very no-nonsense. Not in a drill sergeant sort of way. We joke, we have fun, but when it’s time to work, he’ll even be like, somebody will do something funny in a scene, and we’ll laugh, and he’ll have something to say, and he’s like, “Shut up. I’m trying to work here. We’re not here to entertain you; we’re here to work. Shut up.” It has been fantastic. He’s very intense in a productive way.

Q: What would you say to someone who was looking for an acting intensive, and they were deciding between a couple of different places? Why would you tell them to come to Maggie Flanigan Studio?

A: I’ve learned that acting is about work and work, and work, and work. It is like going to the gym, show up and work. It’s your set, don’t whine or complain. Get up and go. It’s an excellent place to work.

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

Apply for Admission to the Meisner Fall Intensive

Learn more about the Maggie Flanigan Studio, the Fall Meisner Intensive and the acting programs at the studio by visiting the acting programs page on the Maggie Flanigan website. Actors who are interested in applying to the acting programs should contact the studio to arrange an interview.

Meisner Acting Intensive Programs in New York

The post No More Whining and Complaining appeared first on Meisner Acting - The Maggie Flanigan Studio New York NY - 917-789-1599.

via No More Whining and Complaining
by Maggie Flanigan

Meisner Fall Intensive - Meisner Intensive Interview with Ben Stone - (917) 789-9077

Watch video on YouTube here: https://youtu.be/Okqe87ClJt0
via Maggie Flanigan Studio
via Meisner Fall Intensive - Meisner Intensive Interview with Ben Stone - (917) 789-9077
by Maggie Flanigan

No More Whining and Complaining

The Fall Meisner Intensive at Maggie Flanigan Studio introduces actors to the Meisner technique precisely as Sanford Meisner intended. Ben Stone talks about the six-week program and the similarities between training to play football and professional actor training.

Ben Stone Interview: No More Whining and Complaining

Q: Ben, what did you think it meant to train as an actor before you started the six-week intensive at Maggie Flanigan Studio?

A: Frankly, I didn't know so much. It seemed like to be an actor you needed to read a lot of plays and take as many classes as you can, but this has given a high level of specificity to the training, it seems more like training. I played football, so I tried to bring the work ethic of a football player to this, and now it has directions, so it's a lot easier to work hard. It's not just this weird abstract idea of good and evil.

Q: Now that you're finishing the Meisner intensive what do you think it means to train as an actor?

A: Now it means you have to have such a great, a deep understanding of yourself. It's not just ideas about society and beliefs about people; it's you-- It's bringing what you wanted about yourself into scenes and into everything you do and be more aware of how you feel about things. Not just physically feel but emotionally feel and being in touch with those emotions, and it is okay to be in contact with those emotions.

Q: What happened to you over the six-week intensive specifically that changed your perspective?

A: It was one day when we moved on to the independent activity, and I just flipped out, just totally freaked out. I'm a big guy for most of my life trying not to freak out because I am a big scary guy and it's not societally acceptable. That was like a light bulb moment it's like, "That's what Charlie, he's got to be alive in that," yes, that was the aha moment. Before with just the repetition, it's like I couldn't figure it out really, but then the light bulb went off, and my work felt a lot better.

Q: What did you learn about yourself over the past six weeks that was a surprise?

A: I have a lot more pent of aggression than I thought. I am a lot more intolerant of little things people do than I thought, things that annoy me, things that I don't think are acceptable for other people to do. I've become a lot more aware of that instead of just suppressing it because you can't just pick apart everybody, nobody wants to be around you. Just being more aware of it has helped me be more observant; which has been tremendous.

Q: You mentioned previously you studied at some other studios or another studio, how has your experience at Maggie Flanigan Studio been different from the other studios you've studied at?

A: Well, in some ways it's a lot more about, let's get to work. We can have fun, but it's about we're working hard. We're learning, we're trying to grow, we're trying to get better, and that's the core, the root of everything. On top of that, as I said before, it's a lot more specific. People know what they're talking about. There are noticeable changes and improvements that I've gone through just personally. Frankly, I don't know what the perception of my work has been, but for me observing or trying to find myself, I feel much more connected to what I'm doing, and it feels much more natural, and it's easier to get going.

Q: Coming from an athletic background, how have you seen the similarities?

A: I've trained so hard and so intensely for so long at sports, that when there is something I care about, and I want to be good at if I can't find it, I get frustrated. Especially if it's something I don't know that much about, if I can't see a teacher that can create that level of intensity, it drives me crazy. It drives me nuts. I spent so much time training for sports, and it's been a trip trying to figure out how to apply that same intensity and work ethic and passion to something where I'm not headbutting people.

Because it's, in some ways, so similar because you have to work so hard and you have to be so aware everything that you're doing, and you've got to love it. You have got no business doing it because there is so much work and time and effort involved. At the same time, it's so different because I played tight end and I played defensive end. These are big guys slamming into each other which is entirely different. That level of aggression and that level of violence and contact and physicality is almost wholly absent from this.

Finding a way to apply the energy and the desire to learn and grow and do well to something not physical in the same way, has been tough but the level-- like I said, the level of specificity; knowing what we're talking about so we can throw ourselves at it. Because we're not questioning like, "This doesn't make any sense, why are we doing this?" has been fantastic and that it's given me an outlet for all of this energy. I feel like I'm growing because of it.

It is about taking control of your emotions because there are penalties and there are fines. With the acting, it's like exploding emotionally but then also analyzing it.

"I feel this way." It might not be as in depth as like, "Why do I feel?" We're not psychologists, but it recognizes that you feel this way and something made you think this way. It has been great.

Q: How would you describe Charlie as a teacher?

A: Very no-nonsense. Not in a drill sergeant sort of way. We joke, we have fun, but when it's time to work, he'll even be like, somebody will do something funny in a scene, and we'll laugh, and he'll have something to say, and he's like, "Shut up. I'm trying to work here. We're not here to entertain you; we're here to work. Shut up." It has been fantastic. He's very intense in a productive way.

Q: What would you say to someone who was looking for an acting intensive, and they were deciding between a couple of different places? Why would you tell them to come to Maggie Flanigan Studio?

A: I've learned that acting is about work and work, and work, and work. It is like going to the gym, show up and work. It's your set, don't whine or complain. Get up and go. It's an excellent place to work.

Apply for Admission to the Meisner Fall Intensive

Learn more about the Maggie Flanigan Studio, the Fall Meisner Intensive and the acting programs at the studio by visiting the acting programs page on the Maggie Flanigan website. Actors who are interested in applying to the acting programs should contact the studio to arrange an interview.

Meisner Acting Intensive Programs in New York

The previous blog post No More Whining and Complaining is available on Acting Studio New York NY

via No More Whining and Complaining
by Maggie Flanigan

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Meisner Fall Intensive - Meisner Intensive Interview with Ben Stone - (917) 789-9077
Meisner Fall Intensive Ben Stone https://ift.tt/1f8nOu4 Best Meisner Intensive - Maggie Flanigan Studio Call 917-789-1599 : Ben, what did you think it meant to train as an actor before you started the six-week intensive at Maggie Flanigan Studio? A: Frankly, I didn't know so much. It seemed like to be an actor you needed to read a lot of plays and take as many classes as you can, but this has given a high level of specificity to the training, it seems more like training. I played football, so I tried to bring the work ethic of a football player to this, and now it has directions, so it's a lot easier to work hard. It's not just this weird abstract idea of good and evil. Q: Now that you're finishing the Meisner intensive what do you think it means to train as an actor? A: Now it means you have to have such a great, a deep understanding of yourself. It's not just ideas about society and beliefs about people; it's you-- It's bringing what you wanted about yourself into scenes and into everything you do and be more aware of how you feel about things. Not just physically feel but emotionally feel and being in touch with those emotions, and it is okay to be in contact with those emotions. Q: What happened to you over the six-week intensive specifically that changed your perspective? A: It was one day when we moved on to the independent activity, and I just flipped out, just totally freaked out. I'm a big guy for most of my life trying not to freak out because I am a big scary guy and it's not societally acceptable. That was like a light bulb moment it's like, "That's what Charlie, he's got to be alive in that," yes, that was the aha moment. Before with just the repetition, it's like I couldn't figure it out really, but then the light bulb went off, and my work felt a lot better. Q: What did you learn about yourself over the past six weeks that was a surprise? A: I have a lot more pent of aggression than I thought. I am a lot more intolerant of little things people do than I thought, things that annoy me, things that I don't think are acceptable for other people to do. I've become a lot more aware of that instead of just suppressing it because you can't just pick apart everybody, nobody wants to be around you. Just being more aware of it has helped me be more observant; which has been tremendous. Q: You mentioned previously you studied at some other studios or another studio, how has your experience at Maggie Flanigan Studio been different from the other studios you've studied at? Meisner Fall Intensive - Meisner Intensive Interview with Ben Stone - (917) 789-1599 #meisneractingprogram #meisnertechnique #actingprogramsnewyork #maggieflaniganstudio Maggie Flanigan Studio 153 W 27th St #803 New York, New York 10001 +1 917-789-1599 https://ift.tt/1f8nOu4 https://goo.gl/maps/oxqqExybwL32 https://ift.tt/2qlQMVh
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Bringing My Soul Forward - Tashiima Evans - Maggie Flanigan Studio - Call (917) 789-1599

Watch video on YouTube here: https://youtu.be/wgC-vbypIns
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Meisner Fall Intensive - Tashima Evans Meisner Intensive - (917) 789-1599
The Meisner Fall Intensive Tashima Evans https://ift.tt/1f8nOu4 The Best Meisner Intensive - Maggie Flanigan Studio Call (917) 789-1599 The Maggie Flanigan Meisner Intensive trains professional actors based on the teaching and work of Sanford Meisner. In this interview, Tashima Evans discusses with Katie how the Meisner Intensive was different than she expected and how she has redefined for herself what it means to be real and authentic. Q: Tashima, what did you think training as an actor before you started the six-week Meisner intensive? A: Well, to be very honest, I'm just going to talk about my introduction into the studio and what my anticipation was in coming into studying here for the summer. I looked at it as it would be another class that I would take. I would learn a little something, add it to my resume, and then move forward. That's kind of how I looked coming into, studying at the studio, that's how I looked at my experience. I was like, "I'll do this. I'll study a little bit, I'll add it to my resume and boom, I'll be good." Q: What do you think it is now that you're in your last week? A: It's been, for me, incredibly life-changing. I've seen it help me grow as far as my artistry, and I feel like coming into it, I had the respect for acting as an art. I'm an artist. I always say, "I'm not just an actor, I'm an artist." I've had a profound respect for artistry, but I don't think I saw how deeply flawed I was in my view of my art and how I put limitations on what I did with my art. I feel like being in the class with Charlie has been mind-blowing. It's impacted my personal life. I find myself hearing Charlie's voice in my head when I'm out and about. If something is going on that I want to do, I'm thinking, "What's more important, what this person is doing or what you need and want?" It's helped me to be more clear about what I wanted in my life, and there's no turning back, I feel like now. It is no way for me to go back to whatever I was doing before as an actor. It's completely transformed how I view training. Q: Was there something specific that happened over the course of the six weeks that changed your point of view on the training? A: Wow. There were so many moments, not even just for myself, but watching other people work, but I'll say there was one moment where I was doing an activity, and I used a very personal experience. I wept in a way that I've never wept in front of anyone. No one in my life, my family, friends that I'm close to that I know has ever seen that part of me. I was choosing to use that as my motivation. It was something I've done privately by myself, but never in front of people. To me, that feeling is very addicting. It also it showed me that's what I want to share more as an actor. I want to expose more of my private moments. When I'm by myself, when I'm my thoughts, when I'm in the car, whatever that is, I want to showcase that. I feel like that opened my eyes to what I've been-- a wall that's been up for myself. It's been like, "I can be strong, and I'll do this little part of myself but this private moment, feelings, and emotions that I share, I don't want to share that." I feel like that was the moment where it opened it up for me, and I was like, "Hey, just do whatever you feel what's real." Meisner Fall Intensive - Tashima Evans Meisner Intensive - (917) 789-1599 To learn more about the acting programs at the Maggie Flanigan Studio, including the Meisner Intensive, visit the acting programs and registration pages on the studio website URL. Interested students should contact the studio during business hours to schedule an admissions interview. Call (917) 789-1599. Maggie Flanigan Studio 153 W 27th St #803 New York, New York 10001 +1 917-789-1599 https://ift.tt/1f8nOu4 https://goo.gl/maps/oxqqExybwL32 https://ift.tt/2qlQMVh acting classes NYC, acting classes in NYC, maggie flanigan studio, actors, maggie flanigan, Meisner technique training, Meisner technique, Meisner training, Meisner, Meisner work, Meisner acting, Meisner acting classes, acting conservatory, best acting studio in NYC
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by Maggie Flanigan

Bringing My Soul Forward

The Maggie Flanigan Studio Meisner Intensive trains professional actors based on the teaching and work of Sanford Meisner. In this interview, Tashima Evans discusses with Katie how the Meisner Intensive was different than she expected and how she has redefined for herself what it means to be real and authentic.

Fall Meisner Intensive Tashima Evans Interview – Maggie Flanigan Studio

Q: Tashima, what did you think training as an actor before you started the six-week Meisner intensive?

A: Well, to be very honest, I’m just going to talk about my introduction into the studio and what my anticipation was in coming into studying here for the summer. I looked at it as it would be another class that I would take. I would learn a little something, add it to my resume, and then move forward. That’s kind of how I looked coming into, studying at the studio, that’s how I looked at my experience. I was like, “I’ll do this. I’ll study a little bit, I’ll add it to my resume and boom, I’ll be good.”

Q: What do you think actor training is now that you’re in your last week of the six-week program?

A: It’s been, for me, incredibly life-changing. I’ve seen it help me grow as far as my artistry, and I feel like coming into it, I had the respect for acting as an art. I’m an artist. I always say, “I’m not just an actor, I’m an artist.” I’ve had a profound respect for artistry, but I don’t think I saw how deeply flawed I was in my view of my art and how I put limitations on what I did with my art.

I thought that this would just be another acting class that I would take. I would learn a little something, add it to my resume, and then move forward. It's completely transformed how I view actor training. There is no way now for me to go back to what I was doing before as an actor. My life has changed.

Tashimah EvansStudent, Meisner Intensive

I feel like being in the class with Charlie has been mind-blowing. It’s impacted my personal life. I find myself hearing Charlie’s voice in my head when I’m out and about. If something is going on that I want to do, I’m thinking, “What’s more important, what this person is doing or what you need and want?” It’s helped me to be more clear about what I wanted in my life, and there’s no turning back, I feel like now. It is no way for me to go back to whatever I was doing before as an actor. It’s completely transformed how I view training.

Q: Was there something specific that happened over the course of the six weeks that changed your point of view on the training?

A: Wow. There were so many moments, not even just for myself, but watching other people work, but I’ll say there was one moment where I was doing an activity, and I used a very personal experience. I wept in a way that I’ve never wept in front of anyone. No one in my life, my family, friends that I’m close to that I know has ever seen that part of me. I was choosing to use that as my motivation. It was something I’ve done privately by myself, but never in front of people.

To me, that feeling is very addicting. It also it showed me that’s what I want to share more as an actor. I want to expose more of my private moments. When I’m by myself, when I’m my thoughts, when I’m in the car, whatever that is, I want to showcase that. I feel like that opened my eyes to what I’ve been– a wall that’s been up for myself. It’s been like, “I can be strong, and I’ll do this little part of myself but this private moment, feelings, and emotions that I share, I don’t want to share that.” I feel like that was the moment where it opened it up for me, and I was like, “Hey, just do whatever you feel what’s real.”

Q: What did you learn over the course of the six weeks that was a surprise or that changed you?

A: That I needed training. I came into it thinking, “Well, I’m going to do this class and then I’m just going to put it on my resume. I don’t even need to move forward in anyway.” Just how much I needed to unlearn and grow as an actor and how I had emotional blocks in places I wasn’t even aware of. I feel like that was a big thing for me, but then also to be more of myself and be real and authentic.

Q: How has your experience at Maggie Flanigan Studio been different from other classes and other studios where you have studied?

A: I will say that I did take away things that were good from other situations or experiences that I had because it can to where I am, but I feel before, I was playing at acting. I wasn’t tried and right coming from my heart and my soul more. I feel like being here and studying at Maggie and studying with Charlie has taught me how to bring my soul forward, and it is not a thing that I’m playing at but being real and being authentic. I feel like that’s the difference, not being– also, about Charlie, is Charlie’s not trying to sugarcoat anything. He’s keeping it all the way real.

I even tell people that the thing that he’s noticed about me and about things that I’ll do and how it materializes in class, I’m not even aware. He’s been so on point and accurate in a way that no other acting coach has done with me before. I feel like this is where it’s about the artistry, it’s about the craft. It’s about respecting it, and it’s not about, “Let’s see what jobs you’re going to book.” No, it’s like, “No. Where’s your heart? Where’s your soul? Where’s the feeling?”

Q: How would you describe Charlie as a teacher?

A: Well, he’s rough. There were moments in the beginning, as I was getting to know him, that he doesn’t even know this, but I was p***** off at him. I could think in my head like, “I’m going to walk out.” I’m telling myself, calming myself down and turning, “I’m going to walk out,” but I realized I need his teaching style. It’s not going to be about making you feel good, it’s going to be about the truth, and sometimes, the truth hurts. It doesn’t always feel good. I feel like Charlie has a respect for the craft, respect for the art, and he’s not about making people feel good. It can be rough sometimes. I’ve seen people and myself cry because of that.

Q: What would you say to someone who says, “I don’t need the training.”  Or, “I’m 24, I’m too old, or I don’t have the time.”?

A: We all need to grow. As anyone has learned it was myself that there was so much in me that needed to come out. I hadn’t even at all touched my maximum potential. I don’t even feel like that I’ve reached that in six weeks. It’s been like grazing the surface of what I’m capable of doing. It’s worth the investment; it’s worth the time. Who cares what anyone else is doing? What do you see yourself needing to do? What do you know that you need to bring forth? What about yourself needs to shape and change?

If someone’s even inquiring about it, then there’s a part of you that knows you need it. Don’t sell yourself short and think, “No, I’m good because I’ve done that before.” I did that part with this, doing the summer intensive. It’s like, “No, you need it. You need to grow.” If you want to be great at anything, it requires training.

Meisner Intensive | Meisner Intensive Acting Program New York | Call 917-789-1599

Q: There are a lot of Meisner intensives in New York, so why would you tell someone that Maggie Flanigan Studio is the best place to train?

A: Before coming here, I looked at some other places. From what I’ve seen, from the people that have studied here, this was a tried and true like, “This is where you need to be.” I came to a movement performance, it was their final movement performance, and I was moved to tears. Not even just because, “Oh my gosh, these are great looking people and they’re perfect,” but every single person’s soul was infused in what they were doing.

I feel like studying at Maggie has shown me what everyone is. It sets a standard for every person in the class, professionally and as far as artistically. I just have not experienced that anywhere else. I am tough– What is it, like a tough egg to crack? It’s the truth for me, and it’s opened me up in so many other ways. I feel like there’s no other place for me to train.

Meisner Acting Programs in New York

Meisner Acting Programs at the Maggie Flanigan Studio

To learn more about the acting programs at the Maggie Flanigan Studio, including the Meisner Intensive, visit the acting programs and registration pages on the studio website http://www.maggieflaniganstudio.com. Interested students should contact the studio during business hours to schedule an admissions interview. Call (917) 789-1599.

The post Bringing My Soul Forward appeared first on Meisner Acting - The Maggie Flanigan Studio New York NY - 917-789-1599.

via Bringing My Soul Forward
by Maggie Flanigan

Meisner Fall Intensive - Tashima Evans Meisner Intensive - (917) 789-1599

Watch video on YouTube here: https://youtu.be/W4jLZKKmH2M
via Maggie Flanigan Studio
via Meisner Fall Intensive - Tashima Evans Meisner Intensive - (917) 789-1599
by Maggie Flanigan

Bringing My Soul Forward

The Maggie Flanigan Studio Meisner Intensive trains professional actors based on the teaching and work of Sanford Meisner. In this interview, Tashima Evans discusses with Katie how the Meisner Intensive was different than she expected and how she has redefined for herself what it means to be real and authentic.

Q: Tashima, what did you think training as an actor before you started the six-week Meisner intensive?

A: Well, to be very honest, I'm just going to talk about my introduction into the studio and what my anticipation was in coming into studying here for the summer. I looked at it as it would be another class that I would take. I would learn a little something, add it to my resume, and then move forward. That's kind of how I looked coming into, studying at the studio, that's how I looked at my experience. I was like, "I'll do this. I'll study a little bit, I'll add it to my resume and boom, I'll be good."

Q: What do you think actor training is now that you're in your last week of the six-week program?

A: It's been, for me, incredibly life-changing. I've seen it help me grow as far as my artistry, and I feel like coming into it, I had the respect for acting as an art. I'm an artist. I always say, "I'm not just an actor, I'm an artist." I've had a profound respect for artistry, but I don't think I saw how deeply flawed I was in my view of my art and how I put limitations on what I did with my art.

I feel like being in the class with Charlie has been mind-blowing. It's impacted my personal life. I find myself hearing Charlie's voice in my head when I'm out and about. If something is going on that I want to do, I'm thinking, "What's more important, what this person is doing or what you need and want?" It's helped me to be more clear about what I wanted in my life, and there's no turning back, I feel like now. It is no way for me to go back to whatever I was doing before as an actor. It's completely transformed how I view training.

Q: Was there something specific that happened over the course of the six weeks that changed your point of view on the training?

A: Wow. There were so many moments, not even just for myself, but watching other people work, but I'll say there was one moment where I was doing an activity, and I used a very personal experience. I wept in a way that I've never wept in front of anyone. No one in my life, my family, friends that I'm close to that I know has ever seen that part of me. I was choosing to use that as my motivation. It was something I've done privately by myself, but never in front of people.

To me, that feeling is very addicting. It also it showed me that's what I want to share more as an actor. I want to expose more of my private moments. When I'm by myself, when I'm my thoughts, when I'm in the car, whatever that is, I want to showcase that. I feel like that opened my eyes to what I've been-- a wall that's been up for myself. It's been like, "I can be strong, and I'll do this little part of myself but this private moment, feelings, and emotions that I share, I don't want to share that." I feel like that was the moment where it opened it up for me, and I was like, "Hey, just do whatever you feel what's real."

Q: What did you learn over the course of the six weeks that was a surprise or that changed you?

A: That I needed training. I came into it thinking, "Well, I'm going to do this class and then I'm just going to put it on my resume. I don't even need to move forward in anyway." Just how much I needed to unlearn and grow as an actor and how I had emotional blocks in places I wasn't even aware of. I feel like that was a big thing for me, but then also to be more of myself and be real and authentic.

Q: How has your experience at Maggie Flanigan Studio been different from other classes and other studios where you have studied?

A: I will say that I did take away things that were good from other situations or experiences that I had because it can to where I am, but I feel before, I was playing at acting. I wasn't tried and right coming from my heart and my soul more. I feel like being here and studying at Maggie and studying with Charlie has taught me how to bring my soul forward, and it is not a thing that I'm playing at but being real and being authentic. I feel like that's the difference, not being-- also, about Charlie, is Charlie's not trying to sugarcoat anything. He's keeping it all the way real.

I even tell people that the thing that he's noticed about me and about things that I'll do and how it materializes in class, I'm not even aware. He's been so on point and accurate in a way that no other acting coach has done with me before. I feel like this is where it's about the artistry, it's about the craft. It's about respecting it, and it's not about, "Let's see what jobs you're going to book." No, it's like, "No. Where's your heart? Where's your soul? Where's the feeling?"

Q: How would you describe Charlie as a teacher?

A: Well, he's rough. There were moments in the beginning, as I was getting to know him, that he doesn't even know this, but I was p***** off at him. I could think in my head like, "I'm going to walk out." I'm telling myself, calming myself down and turning, "I'm going to walk out," but I realized I need his teaching style. It's not going to be about making you feel good, it's going to be about the truth, and sometimes, the truth hurts. It doesn't always feel good. I feel like Charlie has a respect for the craft, respect for the art, and he's not about making people feel good. It can be rough sometimes. I've seen people and myself cry because of that.

Q: What would you say to someone who says, "I don't need the training."  Or, "I'm 24, I'm too old, or I don't have the time."?

A: We all need to grow. As anyone has learned it was myself that there was so much in me that needed to come out. I hadn't even at all touched my maximum potential. I don't even feel like that I've reached that in six weeks. It's been like grazing the surface of what I'm capable of doing. It's worth the investment; it's worth the time. Who cares what anyone else is doing? What do you see yourself needing to do? What do you know that you need to bring forth? What about yourself needs to shape and change?

If someone's even inquiring about it, then there's a part of you that knows you need it. Don't sell yourself short and think, "No, I'm good because I've done that before." I did that part with this, doing the summer intensive. It's like, "No, you need it. You need to grow." If you want to be great at anything, it requires training.

Q: There are a lot of Meisner intensives in New York, so why would you tell someone that Maggie Flanigan Studio is the best place to train?

A: Before coming here, I looked at some other places. From what I've seen, from the people that have studied here, this was a tried and true like, "This is where you need to be." I came to a movement performance, it was their final movement performance, and I was moved to tears. Not even just because, "Oh my gosh, these are great looking people and they're perfect," but every single person's soul was infused in what they were doing.

I feel like studying at Maggie has shown me what everyone is. It sets a standard for every person in the class, professionally and as far as artistically. I just have not experienced that anywhere else. I am tough-- What is it, like a tough egg to crack? It's the truth for me, and it's opened me up in so many other ways. I feel like there's no other place for me to train.

Meisner Acting Programs in New York

Meisner Acting Programs at the Maggie Flanigan Studio

To learn more about the acting programs at the Maggie Flanigan Studio, including the Meisner Intensive, visit the acting programs and registration pages on the studio website http://www.maggieflaniganstudio.com. Interested students should contact the studio during business hours to schedule an admissions interview. Call (917) 789-1599.

The previous post Bringing My Soul Forward was first published to Acting Studio

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Liked on YouTube: Emotions and Meisner Acting - Charlie Sandlan - Call (917) 789-1599

Emotions and Meisner Acting - Charlie Sandlan - Call (917) 789-1599
Emotions and Acting - https://ift.tt/2xklVtk Emotions and Meisner Acting - Maggie Flanigan Studio Call (917) 789-1599 Charlie Sandlan is the head of acting at the Maggie Flanigan Studio. Here in this video, Charlie discusses why many actors struggle with emotions in their acting. Emotion, as it pertains to acting can be very elusive, and a misunderstood part of the art form. A big problem that many aspiring actors have is that they don’t possess an instrument that is pliable and vulnerable enough to access the full gamut of human emotion. Also, most actors misunderstand emotion in acting, often falsely believing that quantity is more important than quality. So actors struggle, often their entire careers, trying to figure out how to bring more depth to their work. How can you be more vulnerable? How can you find the ease to allow for a simple, fluid emotional life? How can you connect emotionally not only to text but the other actors on stage/on set? These are the problems that actors confront when dealing with emotion. It can be frustrating to read a scene, and understand the emotional arc of the character and the depth of the experience intellectually but struggle to bring that forth in your behavior. If the actor is not vulnerable, the emotional connection can get blocked. Breath is vital in an actor’s ability to process deep, rich experience. The problem for those of you that want to be genuinely open and available in the imaginary world is that the parenting, socialization, and education that you have endured has built up walls that keep you protected and safe. These are all important to be a well-functioning adult but are a detriment if you want to be an emotionally sensitive actor. An actor must chip away at these defenses, so that your empathy, your humanity, and your vulnerability can come to the surface. I have found the Meisner Technique, created by Sandy Meisner in the 1930’s, to be the most effective way to accomplish this. Emotions and Meisner Acting - Charlie Sandlan - Call (917) 789-1599 Learn more about the actor training and the acting programs that the studio provides, which are based on the principles of the Meisner Technique. Actors who are interested in applying for admission to the studio can call 917-789-1599 to learn more about the admission process. #meisnertechnique #meisneracting #actingteacher Maggie Flanigan Studio 153 W 27th St #803 New York, New York 10001 +1 917-789-1599 https://ift.tt/1f8nOu4 https://goo.gl/maps/oxqqExybwL32 https://ift.tt/2qlQMVh acting classes NYC, acting classes in NYC, maggie flanigan studio, actors, maggie flanigan, Meisner technique training, Meisner technique, Meisner training, Meisner, Meisner work, Meisner acting, Meisner acting classes, acting conservatory, best acting studio in NYC
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Liked on YouTube: New York Acting Programs - Devin Fuller - Call (917) 789-1599

New York Acting Programs - Devin Fuller - Call (917) 789-1599
New York Acting Programs - https://ift.tt/2oEDFKr Best New York Acting Programs - Maggie Flanigan Studio Call (917) 789-1599 The Maggie Flanigan Studio New York acting programs train actors based on the Meisner Technique, created by Sanford Meisner. Devin Fuller, a first year student in the acting program, talks about what he thought actor training was when he first started studying at the studio. Q: Devin, what did you think about to train as an actor before you started the two-year program at Maggie Flanigan Studio? A: I think when I was starting out I thought that actor training was something that you could do and was probably helpful, but I thought, “Not everyone necessarily needs to train because I've heard stories about people who become successful without going to training programs.” I thought for me, I could show up and learn on set, and I could learn from experience, but I think ultimately what I've learned is that there’s this level of technique that you don't necessarily get just from experience. It does help for someone to train you and to learn from somebody because you can only get so far, I think, on your own. It helps to have a teacher. Q: What did you think or what did you know about the Meisner Technique before you started your first year here? A: I had taken a couple of classes before that dabbled in Meisner, nothing super advanced though. All I knew about it was repetition involved. I didn't see the process too much beyond some fundamental things about it. All I knew was that I knew some people who had trained in the Meisner Technique and they were outstanding. I was like, “I want to learn what this is about,” so here I am. [laughs] Q: Now that you've finished the full first year of the two-year program, how has your understanding of the Meisner Technique changed? A: I've learned it’s very-- It lets you get into a part of yourself that you might not know you have. I feel like before when I didn't have as much of an understanding of technique; I would show up then think, "Okay, how would this character feel?" I didn't really-- It was not in a particular way. I just felt along and tried to see what works. A lot of times, maybe it did work, other times it didn't, I got feedback. Now that I've trained a little bit, I've learned that having some structure to how you're approaching acting is very helpful. This technique is good at getting you out of your head and focusing on what the other person is doing. It's less about yourself. I've learned so much about reacting to people and understanding and also letting my true emotional response come out. There is a difference between being acting angry and being angry, acting sad and feeling sad. It's like night and day once you realize that. It's been a great experience, and I've learned a lot. New York Acting Programs - Devin Fuller - Call (917) 789-1599 Learn more about Meisner acting and professional actor training at the Maggie Flanigan Studio, by visiting the acting programs and acting classes page on the studio website, or by calling the studio during studio business hours at 917-789-1599. #actingprograms #meisnertechnique #actingclasses Maggie Flanigan Studio 153 W 27th St #803 New York, New York 10001 (917) 789-1599 https://ift.tt/1f8nOu4 https://goo.gl/maps/JTA9n7oHbNT2 acting classes NYC, acting classes in NYC, maggie flanigan studio, actors, maggie flanigan, Meisner technique training, Meisner technique, Meisner training, Meisner, Meisner work, Meisner acting, Meisner acting classes, acting conservatory, best acting studio in NYC
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Liked on YouTube: Forcing Emotions - Maggie Flanigan Studio - Call (917) 789-1599

Forcing Emotions - Maggie Flanigan Studio - Call (917) 789-1599
Forcing Emotions - https://ift.tt/1f8nOu4 Reiki for Actors - Maggie Flanigan Studio - Call (917) 789-1599 Laura Pensiero teaches Reiki classes for actors at the Maggie Flanigan Studio. In this video, Laura discusses the problems that actors face when forcing their emotions. One of the most significant challenges actors face is accessing their emotions with ease and authenticity. Often, when the actor has a scene that requires an emotional outburst, the initial instinct is to force the emotions. When the actor forces crying or anger, it feels inauthentic to the audience. The reason the actor tries to manipulate emotions into existence is for fear the emotions will not come naturally. This creates a lot of tension and tightness around the emotional life and makes the body look uneasy and uncomfortable. The throat gets strained, the muscles in the face clench and the actor stops breathing. When the actor stops breathing, they completely disconnect from their emotions. The result and what the audience sees is “bad acting.” What the actor needs is to remain relaxed, open and free of physical, emotional and mental tension. It can be confusing and counter-intuitive for the actor to maintain a relaxed body during a heightened emotional scene. It is crucial for the body, and emotional life to be tension free for the acting to be believable and engaging. Learn more about Laura Pensiero, the acting classes and acting programs at the Maggie Flanigan Studio by visiting our studio website at URL. Prospective students can call the studio during open hours with specific questions about our acting programs and class schedule. Maggie Flanigan Studio 153 W 27th St #803 New York, New York 10001 (917) 789-1599 https://ift.tt/1f8nOu4 https://goo.gl/maps/JTA9n7oHbNT2
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Liked on YouTube: Consistent Acting and the Meisner Technique - Charlie Sandlan - Call (917) 789-1599

Consistent Acting and the Meisner Technique - Charlie Sandlan - Call (917) 789-1599
Acting with Consistency - https://ift.tt/2Pqu6dZ Why Actors Struggle with Consistency - Maggie Flanigan Studio - Call 9177891599 Charlie Sandlan teaches in the acting programs at the Maggie Flanigan Studio. In this video, Charlie discusses why many actors have trouble being consistent in their acting. Maybe you can relate to this as an actor. You do a scene may be in a play or class, or perhaps you're on set, and something magical happens. You're out of your head. You're on your spontaneous impulses. You're fully emotionally alive. Something happened, and the director calls cut. You walk off stage, and you feel like you've been hit by a Mack truck. Then you say yourself, "How can I do that again?" and you don't know how. It's lost in the ether. That could be very frustrating, because you've got a sense of what it feels like to be present, but you don't know how to do it. The reason why you don't know how to do that consistently is because you don't have craft or a real technique that gives you a way of working, that's going to support you every single time you grab material, whether going in for an audition, you're going into rehearsal, going on set. You need to learn how to craft. It is essential. I think that the Meisner technique that was created by Sandy Meisner in 1930s is the most brilliant way to instill actors with fundamental skill. You've got to be able to get the attention off of yourself onto the other person or onto what you're doing. You've got to know how to listen, how to hear intently, how to go from anticipated moment to unanticipated moment. You need to be able to be surprised in every moment about what's being said to you, about what's happening to you at the moment, being played upon and changed by a notion of being. You need to know how to answer some particular questions. You need to know how to respond and pin down very individually and personally with the previous circumstances what the acting relationship is, what's your objective. You need to know how to do actions. Those all ultimately need to be second nature. Then you need an instrument that is open and pliable, that's capable of processing emotion that will allow your empathy, your humanity, your vulnerability to be able to operate. When you have that instilled in you, when you have a craft, when you have something that is just second nature to how you work as an artist, then those fleeting moments of being alive on stage or camera become consistent. Learn more about Charlie Sandlan and the acting programs and acting classes at the Maggie Flanigan Studio by visiting the studio website or calling the studio front desk at 917-789-1599. Maggie Flanigan Studio 153 W 27th St #803 New York, New York 10001 (917) 789-1599 https://ift.tt/1f8nOu4 https://goo.gl/maps/JTA9n7oHbNT2 acting classes NYC, acting classes in NYC, maggie flanigan studio, actors, maggie flanigan, Meisner technique training, Meisner technique, Meisner training, Meisner, Meisner work, Meisner acting, Meisner acting classes, acting conservatory, best acting studio in NYC
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Liked on YouTube: Acting Programs New York NY - Elise Tollefsen Interview - Maggie Flanigan Studio

Acting Programs New York NY - Elise Tollefsen Interview - Maggie Flanigan Studio
Best Acting Programs New York NY - https://ift.tt/2oEDFKr Acting Programs New York NY - Maggie Flanigan Studio Call (917) 789-1599 Elise Tollefsen is an actor studying in the two-year acting program at Maggie Flanigan Studio. During this interview, Elise talks about starting at the studio with the Meisner Intensive and what the first year of the two year Meisner acting program has been like. Q: Jared, what did you think you’re meant to train as an actor before you started the two year’s program at Maggie Flanigan studio? A: Where do I begin? What I think is it was not as extensive and as elaborate as to when I exited the program after the first year. My perspective has changed completely. You watch films and these great actors they do fantastic work, and you think man, it looks so easy I can do it, and then you start to put in the work and see what it takes to get to that point, and it changes everything, your outlook on it. Before this school I didn't-- I had no clue of what I was signing myself up for and how much work it takes to be an outstanding actor. Q: What happened during the first year that changed your perspective on acting training? A: Just the guidance. With the whole staff and everybody affiliated with Maggie Flanigan is just always on point and always willing to help and ready to push you further than you even think that you can go. I can attest and appreciate how they push you and how they get you out of your shell. That to me was the biggest thing, the atmosphere and being in that school atmosphere again really getting your blood boiling to want to accomplish more and get better as an actor as you move forward. Q: How has the community of students like you mentioned helped you through this first year whether it was the people in your acting class who also take voice and movement, how would you describe the community of students here at Maggie Flanigan studio and what that adds to the experience? A: I think it is the whole experience. Acting is, other than one man show if you're not willing to do it by yourself very often. It takes that community to make it what it is really. As I said, I hadn't been in a school setting in a very long time, so this to me was very nice to be a part of that community again and on a daily basis be around other people who are as driven as you or more driven or equally as talented or much more talented. That's all perspective, but it challenges you and pushes you on a daily basis to like I said want to be a better actor and put more effort into this craft. Q: What did you learn about yourself over the course of this first year that was a surprise or that changed you? A: It was a surprise that I could be a lot more vulnerable than I previously thought I could. Maybe not from a man’s perspective but being vulnerable how I grew up was very difficult, hard to express yourself. I've always held a lot of things in and didn't put them out there. What this taught me was not to be afraid to be vulnerable and put yourself out there and to make choices and make risky decisions even though you don't know how the outcome is going to come or be. That was big for me opening that up and exploring who I was. I could say right now who I was ten months ago, 11 months ago to who I am today is could be entirely a different person when you look back. I'm excited for the growth that I've already seen in a single year, and I'm excited to see how much I could indeed grow going forward. Elise Tollefsen Interview - Acting Programs New York NY - Maggie Flanigan Studio Learn more about the Meisner Intensive and the acting programs at the Maggie Flanigan Studio on the acting programs page on the studio website, or by calling the studio during business hours at (917) 789-1599 with specific questions. #actingprogramsnewyork #meisnertechnique #actingstudionewyork Maggie Flanigan Studio 153 W 27th St #803 New York, New York 10001 (917) 789-1599 https://ift.tt/1f8nOu4 https://goo.gl/maps/JTA9n7oHbNT2 acting programs New York NY, acting studio New York NY, Meisner technique, Elise Tollefsen
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Liked on YouTube: Best Meisner Training - Julia Gu Interview - Maggie Flanigan Studio - Call (917) 789-1599

Best Meisner Training - Julia Gu Interview - Maggie Flanigan Studio - Call (917) 789-1599
Meisner Training - https://ift.tt/1f8nOu4 Best Meisner Training - Maggie Flanigan Studio - Call (917) 789-1599 The two-year acting program at the Maggie Flanigan Studio introduces professional actors to the Meisner technique. First-year acting program student Julia Gu, talks about coming to the studio without having any experience with the Meisner technique. Q: Julia, why did you decide to study at Maggie Flanigan studio? A: I started acting training without an acting technique. I went to voice class with the Linklater technique and then, also when to take client classes. Then, the teachers feel like as a talent, I’m too raw, regarding I don't have acting technique. Then, they recommended- both teachers recommended Maggie Flanigan at the same time. They think, Charlie's tough and sets a high bar in terms acting technique. The studio overall has a high level of integrity when it comes to training actors. They both tell me I will be in good hands coming here. That's why I am here. Q: What did you think the Meisner technique was before you came to the studio since you didn't have any experience with it before? A: I’m Chinese, I don't see a lot about American acting masters. I know several guys trained based on the method-- Q: Stanislavski. A: Stanislavski. They are like Lee Strasberg, Stella Adler, and then Sandy Meisner. I thought Sandy Meisner was the guy who does repetition, that's all I know. Repetition. I thought the truth would come up during the repetition exercise. Q: Now, you've finished your first year, and you've done a whole year of the Meisner work, the entire first year, what do you think the Meisner technique is now? How has this word changed your understanding beyond the repetition? A: To be honest, I just finished one year. I don't know the whole thing- how the entire thing is, but I would say repetition was indeed a minimal amount of the beginning. It's not what the whole thing is about. Right now, my understanding is more like being specific in each aspect of acting regarding our emotional lives, concerning our relationship with other people in the play, our daydream, what happened. We have to create that daydream as specific as possible to form the reality when we're acting. That's where I am right now. That’s here may change. Q: I’m sure it will. What did you learn about yourself during this year- this first year of the Meisner technique that was a surprise or that changed you? A: I think, the first is about learning about ourselves and something surprised me is how much my family plays a considerable weight in my life. That surprised me; I did not expect to feel so much emotion. My emotional life is very much connected to my family. Serious actors who are interested in applying for admission to the acting programs at the Maggie Flanigan Studio in New York, can learn more about the studio by going to the acting programs and acting classes page or by calling the studio at 917-789-1599 with specific questions about the acting classes and acting programs. #meisnertraining #actingprograms #maggieflaniganstudio Best Meisner Training - Julia Gu Interview - Maggie Flanigan Studio - Call (917) 789-1599 Maggie Flanigan Studio 153 W 27th St #803 New York, New York 10001 (917) 789-1599 https://ift.tt/1f8nOu4 https://goo.gl/maps/JTA9n7oHbNT2 acting classes NYC, acting classes in NYC, maggie flanigan studio, actors, maggie flanigan, Meisner technique training, Meisner technique, Meisner training, Meisner, Meisner work, Meisner acting, Meisner acting classes, acting conservatory, best acting studio in NYC
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Liked on YouTube: New York Acting Programs - Stephanie Leiva Interview - Maggie Flanigan Studio

New York Acting Programs - Stephanie Leiva Interview - Maggie Flanigan Studio
New York Acting Programs - http://wp.me/p1cCX9-2Fj Maggie Flanigan Studio - Call (917) 789-1599 The Maggie Flanigan Studio has the reputation as being one of the best actor training programs in New York and the U.S. Stephanie Leiva, in this interview, talks with Katie about the Meisner training during her first year in the program, and why she decided to train at Maggie Flanigan Studio instead of the many other acting studios in New York. Q: Stephanie, what did you think the Meisner technique was before you started training at Maggie Flanigan Studio? A: I didn't have too much of a concrete idea of what Meisner was. I went to Rutgers, and I studied theater there, so I knew that it was about listening and responding and finding your point of view and being truthful, but I had a pretty vague idea. I just knew from my friends, they were like, "If you want to do acting, you're perfect for Meisner,” so I looked into studios for Meisner and found this one. Q: Now that you're done with your first year, what do you think the Meisner technique is now? A: Meisner is about being yourself from your point of view, from being as truthful as you can, from really listening to your partner, really taking it in and responding from your point of view. Q: Now that you’ve finished the first year, what did you learn about yourself during this year that was a surprise or that changed you? A: What changed for me this year is I started off from a very defensive place. Instead of taking in and letting things affect me, I would go, and I would attack. I was very defensive, and Charlie helped me transition to starting to stand up for myself. There's such a big difference between being defensive and standing up for yourself, and I built confidence to hold my ground. Q: What did you learn this year about work ethic or what it takes to be an actor? A: It takes so much to be an actor. My time is consumed with my classes and the work that I have to do. I'm too consumed with my rehearsal and my crafting and my activity and my scenes and my lines. I’m constantly thinking about this. There's never a dull moment. You have to be obsessed with this work. If you're not obsessed with your creativity, if you don't have your imagination flowing all the time, you need to get it flowing. New York Acting Programs - Stephanie Leiva Interview - Maggie Flanigan Studio Learn more about the training and acting programs at the Maggie Flanigan Studio by visiting the studio website operating programs page. Actors who are interested in applying for admission should call the studio with questions about enrollment by calling (917) 789-1599. Maggie Flanigan Studio 153 W 27th St #803 New York, New York 10001 +1 917-789-1599 https://ift.tt/1f8nOu4 https://goo.gl/maps/oxqqExybwL32 https://ift.tt/2qlQMVh acting programs new york, acting classes new york, acting studio new york, Meisner technique, Maggie Flanigan Studio, Stephanie Leiva
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Liked on YouTube: Acting Programs New York - Jared Garzia - Maggie Flanigan Studio - Call (917) 789-1599

Acting Programs New York - Jared Garzia - Maggie Flanigan Studio - Call (917) 789-1599
Best Acting Programs New York - https://ift.tt/1f8nOu4 Acting Programs New York - Maggie Flanigan Studio Call (917) 789-1599 Q: Jared, what did you think you’re meant to train as an actor before you started the two year’s program at Maggie Flanigan studio? A: Where do I begin? What I think is it was not as extensive and as elaborate as to when I exited the program after the first year. My perspective has changed completely. You watch films and these great actors they do fantastic work, and you think man, it looks so easy I can do it, and then you start to put in the work and see what it takes to get to that point, and it changes everything, your outlook on it. Before this school I didn't-- I had no clue of what I was signing myself up for and how much work it takes to be an outstanding actor. Q: What happened during the first year that changed your perspective on acting training? A: Just the guidance. With the whole staff and everybody affiliated with Maggie Flanigan is just always on point and always willing to help and ready to push you further than you even think that you can go. I can attest and appreciate how they push you and how they get you out of your shell. That to me was the biggest thing, the atmosphere and being in that school atmosphere again really getting your blood boiling to want to accomplish more and get better as an actor as you move forward. Q: How has the community of students like you mentioned helped you through this first year whether it was the people in your acting class who also take voice and movement, how would you describe the community of students here at Maggie Flanigan studio and what that adds to the experience? A: I think it is the whole experience. Acting is, other than one man show if you're not willing to do it by yourself very often. It takes that community to make it what it is really. As I said, I hadn't been in a school setting in a very long time, so this to me was very nice to be a part of that community again and on a daily basis be around other people who are as driven as you or more driven or equally as talented or much more talented. That's all perspective, but it challenges you and pushes you on a daily basis to like I said want to be a better actor and put more effort into this craft. Q: What did you learn about yourself over the course of this first year that was a surprise or that changed you? A: It was a surprise that I could be a lot more vulnerable than I previously thought I could. Maybe not from a man’s perspective but being vulnerable how I grew up was very difficult, hard to express yourself. I've always held a lot of things in and didn't put them out there. What this taught me was not to be afraid to be vulnerable and put yourself out there and to make choices and make risky decisions even though you don't know how the outcome is going to come or be. That was big for me opening that up and exploring who I was. I could say right now who I was ten months ago, 11 months ago to who I am today is could be entirely a different person when you look back. I'm excited for the growth that I've already seen in a single year, and I'm excited to see how much I could indeed grow going forward. Q: How would you describe this first year with Charlie as your teacher? A: There's an expression that I always love which is when the student is ready the teacher reveals himself, and in this case, it couldn't be more exact. Charlie has been a blessing in my life. It takes a particular person to get under my skin and push me to be a better me. He's genuinely brought that out of me. He's made me kick laziness and procrastination to the side which is significant faults of mine and crutches, and I'm excited like I said to see how our relationship and the teacher-student relationship will grow going into the second year, and I'm excited to see where that goes. Q: I know you mentioned you took some classes down in Florida but then you trained here in improv classes so did classes. Did you ever commit to a training program before this program? Jared Garzia - Acting Programs New York - Maggie Flanigan Studio - Call (917) 789-1599 Maggie Flanigan Studio 153 W 27th St #803 New York, New York 10001 (917) 789-1599 https://ift.tt/1f8nOu4 https://goo.gl/maps/JTA9n7oHbNT2 acting classes NYC, acting classes in NYC, maggie flanigan studio, actors, maggie flanigan, Meisner technique training, Meisner technique, Meisner training, Meisner, Meisner work, Meisner acting, Meisner acting classes, acting conservatory, best acting studio in NYC
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by Maggie Flanigan

I Don’t Know What To Do With a Script

As an aspiring actor, perhaps you can relate to the frustration that comes when you are given a great opportunity to either audition for or work on a significant part or a complicated script. Maybe you have taken some scene study classes where you have read a play, memorized your lines, and did your scene in front of a teacher that gave you some line readings and some general notes. But then you actually get a professional opportunity, and you stare at these dead words on a page and know instinctively that there is more to acting then memorizing these lines and practicing how I want to say them into a mirror?

Outstanding actors, well-trained ones, know how to break down a script. They know how to read a text for the first time. They know how to break it down into beats, actions, and line intentions. They know how to implant meaning. They know how to prepare to connect to the previous circumstance emotionally. They have a skill set which allows them to respond the way the character needs to. They are educated on the history of great plays and films, bringing knowledge of genre and history to their understanding of the material. They have developed an appreciation of psychology as it pertains to character. They get intuitively the importance of understanding why a character behaves the way they do, and realize this is an incredibly valuable insight.

The Meisner Technique Trains an Actor How to Read a Script

I believe that the technique created by Sandy Meisner in the 1330’s is the most effective way to train an actor in how to interpret a script. The first and second years of the Meisner Technique provide any serious actor with a road map, a way of approaching material that keeps them from feeling like an overwhelmed amateur. There are a series of questions that an actor must answer in a simple, specific, and personal way. Actors call this crafting. You must be able to pin down the previous circumstance and connect to it emotionally off stage or off set. You must know how to craft an acting relationship. You need to identify your objective when you get one and know when it changes. You then need to understand actions and have the ability to do them without thinking. And finally, you must have the ability to implant meaning not only to your lines but also to what is said to you in every moment. It is a tremendous amount of work.

Anything good that happens to you as an actor is a by-product of how well you craft. Most actors don’t know how to do it, so the only thing they can produce is general, pedestrian behavior. The best actors know how to break down a script in simple, actable terms. Simple, specific, and personal crafting will always lead to vivid behavior. So if you feel lost and adrift when you stare down at a script, do yourself a favor and get yourself trained. It’s the first step towards being taken seriously as an actor. Hopefully, that is what you want.

Script Analysis Classes at Maggie Flanigan Studio

The Maggie Flanigan Studio trains professional actors ( http://www.maggieflaniganstudio.com/) based on the teaching and life work of Sanford Meisner. The professional actor training program includes script analysis classes. Actors who are interested in applying to the acting programs should call the studio at (917) 789-1599 and schedule an admissions interview.

Script Analysis Classes New York

The above blog post I Don’t Know What To Do With a Script was originally published on Acting Studio New York Blog

via I Don’t Know What To Do With a Script
by Maggie Flanigan

Script Analysis Classes New York - Maggie Flanigan Studio - Call (917) 789-1599

Watch video on YouTube here: https://youtu.be/VRCbpGZy_-k
via Maggie Flanigan Studio
via Script Analysis Classes New York - Maggie Flanigan Studio - Call (917) 789-1599
by Maggie Flanigan

I Don’t Know What To Do With a Script

As an aspiring actor, perhaps you can relate to the frustration that comes when you are given a great opportunity to either audition for or work on a significant part or a complicated script. Maybe you have taken some scene study classes where you have read a play, memorized your lines, and did your scene in front of a teacher that gave you some line readings and some general notes. But then you actually get a professional opportunity, and you stare at these dead words on a page and know instinctively that there is more to acting then memorizing these lines and practicing how I want to say them into a mirror?

Script Analysis Classes New York – Script Analysis Class New York – Call (917) 789-1599

Outstanding actors, well-trained ones, know how to break down a script. They know how to read a text for the first time. They know how to break it down into beats, actions, and line intentions. They know how to implant meaning. They know how to prepare to connect to the previous circumstance emotionally. They have a skill set which allows them to respond the way the character needs to. They are educated on the history of great plays and films, bringing knowledge of genre and history to their understanding of the material. They have developed an appreciation of psychology as it pertains to character. They get intuitively the importance of understanding why a character behaves the way they do, and realize this is an incredibly valuable insight.

"If you feel lost when you stare down at a script, do yourself a favor and get yourself trained. It’s the first step to being taken seriously as an actor."

Charlie SandlanExecutive Director, Head of Acting

The Meisner Technique Trains an Actor How to Read a Script

I believe that the technique created by Sandy Meisner in the 1330’s is the most effective way to train an actor in how to interpret a script. The first and second years of the Meisner Technique provide any serious actor with a road map, a way of approaching material that keeps them from feeling like an overwhelmed amateur. There are a series of questions that an actor must answer in a simple, specific, and personal way. Actors call this crafting. You must be able to pin down the previous circumstance and connect to it emotionally off stage or off set. You must know how to craft an acting relationship. You need to identify your objective when you get one and know when it changes. You then need to understand actions and have the ability to do them without thinking. And finally, you must have the ability to implant meaning not only to your lines but also to what is said to you in every moment. It is a tremendous amount of work.

Anything good that happens to you as an actor is a by-product of how well you craft. Most actors don’t know how to do it, so the only thing they can produce is general, pedestrian behavior. The best actors know how to break down a script in simple, actable terms. Simple, specific, and personal crafting will always lead to vivid behavior. So if you feel lost and adrift when you stare down at a script, do yourself a favor and get yourself trained. It’s the first step towards being taken seriously as an actor. Hopefully, that is what you want.

Script Analysis Classes New York – Script Analysis Class New York

Script Analysis Classes at Maggie Flanigan Studio

The Maggie Flanigan Studio trains professional actors ( http://www.maggieflaniganstudio.com/) based on the teaching and life work of Sanford Meisner. The professional actor training program includes script analysis classes. Actors who are interested in applying to the acting programs should call the studio at (917) 789-1599 and schedule an admissions interview.

Script Analysis Classes New York

The post I Don’t Know What To Do With a Script appeared first on Meisner Acting - The Maggie Flanigan Studio New York NY - 917-789-1599.

via I Don’t Know What To Do With a Script
by Maggie Flanigan