Meisner Summer Acting Program: Kate Pitney

The Meisner summer acting program at the Maggie Flanigan Studio is a six week acting intensive in New York that is rooted in the Meisner technique. In this interview at the studio, Kate Pitney talks about Meisner training and what she learned in six weeks.

Q: Kate, what did you think it meant to train as an actor before you started the six-week summer intensive?

I thought that it meant to try and prepare yourself to jump into anything that was thrown at you. I guess I maintain that view now, but I think I have more of an understanding of what it means to be ready for anything to be thrown at you at any moment and how visceral that is if that makes sense.

Q: Well, what do you think it means now, besides being ready to jump in at any moment?

I think it means being able to-- It's so hard, to sum up.

I think, in general, it just means having a process and having an understanding of how to approach things that are given to you, and only the ability to be present in the moment when you're working.

Q: What happened over these six weeks that changed your perspective on training?

I think the beginning with the repetition exercise is- breaks down everything that you thought you knew about acting. All of the previous scene work or anything else that I had done before just seemed like it didn't matter because we went back to the basics at first. I think that that made me shed my beliefs before them. Then moving on from that when we eventually moved into scenes, I think I approached them much more- I don't know, in a different way than I did before.

Q: Have you studied the Meisner technique before, or were you familiar with it before you started?

My mom had studied with Sandy Meisner, so I knew about the technique. I've heard a lot about the repetition and things like that, but I've never done it myself, which was interesting to jump into.

Q: What did you learn about yourself over these six weeks that was a surprise or that changed you?

I learned that I do all of these things to protect myself with my body and with the way that I speak. They were things that I just hadn't been aware of it all before, and only the ability to start to release those things. I think it's freed me up a lot in terms of my work in scenes.

Q: Did you take up any of the auxiliary classes this summer?

Yes, I took movement and voice and the on-camera class.

Q: How did those classes help you in the other acting classes at the studio?

All of the classes work together. I think movement, especially, really supplemented my work in Charlie's class well because it's a lot of letting go of things and opening up the channel communication between your mind and your body, which I think is very helpful for any actor but specifically for me. Voice has manifested in the sense that we've been working. We've accomplished a lot on jaw attention. That's something that I know I have an issue within scene work that has been pointed out to me. Being able to release that makes me feel more comfortable about my freedom and my scene work.

Q: What about the on-camera acting class with Larry?

The on-camera class is exciting because it's- we were taught a lot about how auditions work. We would go into the room as we would in a test and work on camera and get past the nerve-wracking aspect of that in and of itself, which I think made me more comfortable. We also watch ourselves which, although it's difficult, I think it's the best way to make yourself aware of what you do. I believe that talking-- We talk over our work as we watch ourselves which is very helpful, to have a critique and then try what you've been doing again in a new light with more information.

Q: What is the most significant difference at Maggie Flanigan Studio compared with the other studios where you have studied?

The thing that made this experience different for me, I think, was the fact that we didn't start by being thrown these major scenes with these fake conflicts in them. We started from this very beginning, fundamental technique. Then once we had grown immensely through that, we began to do scene work. I think it just made me feel like my previous education had been skimmed over. I wasn't ready to have those things thrown at me when they were.

Q: How has the community of students at the studio helped you over these six weeks?

I think that my class has gotten very, very close in the time that we spent together because we've had these breakdowns throughout level and all experienced this growth together, which is a charming feeling, to have all those people become so close to you and be so comfortable with them in a short time span.

Also, in the auxiliary classes, having the people from the two-year program who are a year in or things like that has been very helpful, just in terms of the fact that they have a point of perspective on the studio and on the work that we do in acting class where, of course, they won't give anything away, but they're very understanding of where we are at different times of the week and things like that.

Q: What part of the Meisner technique is resonating with you most?

I think the incorporation of the repetition exercise into scene work, where you use the repeat exercise to repeat things that are said to you and help-- What's being told to you land on you more clearly is very helpful in scene work because it enables you to listen more because you have to go over what they just said to you and take it in at that moment. I think that that's something I'm going to maintain in any scene work that I do.

Q: How would you describe Charlie as a teacher?

Charlie is not comfortable on you, but he's very fair. He's not easy on anyone which is the significant part of it, but none of it is personal or anything like that. It's just very much an environment where everyone grows. He's very fair in general but hehe doesn't spoon feed anything to- anything like that.

Q: Why would you tell someone that they should do the six-week summer intensive at Maggie Flanigan Studio?

I would tell them that they should do the intensive because, as far as I know, myself and everyone else in my class speak about this experience in a way where it changed our lives. I think that it can do that for any person because you start with this essential thing and you get to know yourself, both as an actor and as a person. I think that's something that can advance and benefit anyone at any point in their life, probably.

The Application Process for the Meisner Summer Acting Program

Students who are interested in studying the Meisner Technique the way that Sanford Meisner originally conceived the training, should apply online for admission to the Maggie Flanigan Studio and schedule an interview as soon as possible. Potential students with questions should call (917) 789-1599.

The above article Meisner Summer Acting Program: Kate Pitney is republished from NYC Acting Studio

via Meisner Summer Acting Program: Kate Pitney
by Maggie Flanigan

Meisner Summer Acting Program: Kate Pitney

The Meisner summer acting program at the Maggie Flanigan Studio is a six week acting intensive in New York that is rooted in the Meisner technique. In this interview at the studio, Kate Pitney talks about Meisner training and what she learned in six weeks.

Meisner Summer Acting Program Kate Pitney 01

Q: Kate, what did you think it meant to train as an actor before you started the six-week summer intensive?

I thought that it meant to try and prepare yourself to jump into anything that was thrown at you. I guess I maintain that view now, but I think I have more of an understanding of what it means to be ready for anything to be thrown at you at any moment and how visceral that is if that makes sense.

Q: Well, what do you think it means now, besides being ready to jump in at any moment?

I think it means being able to– It’s so hard, to sum up.

I think, in general, it just means having a process and having an understanding of how to approach things that are given to you, and only the ability to be present in the moment when you’re working.

"I've had heard a lot about the repetition work and things like that, but I had never done it myself, which was really interesting to jump into. I now approach scenes in a different way."

Kate PitneyMeisner Summer Acting Program

Q: What happened over these six weeks that changed your perspective on training?

I think the beginning with the repetition exercise is- breaks down everything that you thought you knew about acting. All of the previous scene work or anything else that I had done before just seemed like it didn’t matter because we went back to the basics at first. I think that that made me shed my beliefs before them. Then moving on from that when we eventually moved into scenes, I think I approached them much more- I don’t know, in a different way than I did before.

Q: Have you studied the Meisner technique before, or were you familiar with it before you started?

My mom had studied with Sandy Meisner, so I knew about the technique. I’ve heard a lot about the repetition and things like that, but I’ve never done it myself, which was interesting to jump into.

Q: What did you learn about yourself over these six weeks that was a surprise or that changed you?

I learned that I do all of these things to protect myself with my body and with the way that I speak. They were things that I just hadn’t been aware of it all before, and only the ability to start to release those things. I think it’s freed me up a lot in terms of my work in scenes.

Q: Did you take up any of the auxiliary classes this summer?

Yes, I took movement and voice and the on-camera class.

Q: How did those classes help you in the other acting classes at the studio?

All of the classes work together. I think movement, especially, really supplemented my work in Charlie’s class well because it’s a lot of letting go of things and opening up the channel communication between your mind and your body, which I think is very helpful for any actor but specifically for me. Voice has manifested in the sense that we’ve been working. We’ve accomplished a lot on jaw attention. That’s something that I know I have an issue within scene work that has been pointed out to me. Being able to release that makes me feel more comfortable about my freedom and my scene work.

Q: What about the on-camera acting class with Larry?

The on-camera class is exciting because it’s- we were taught a lot about how auditions work. We would go into the room as we would in a test and work on camera and get past the nerve-wracking aspect of that in and of itself, which I think made me more comfortable. We also watch ourselves which, although it’s difficult, I think it’s the best way to make yourself aware of what you do. I believe that talking– We talk over our work as we watch ourselves which is very helpful, to have a critique and then try what you’ve been doing again in a new light with more information.

Meisner Summer Acting Program at the Maggie Flanigan Studio

Q: What is the most significant difference at Maggie Flanigan Studio compared with the other studios where you have studied?

The thing that made this experience different for me, I think, was the fact that we didn’t start by being thrown these major scenes with these fake conflicts in them. We started from this very beginning, fundamental technique. Then once we had grown immensely through that, we began to do scene work. I think it just made me feel like my previous education had been skimmed over. I wasn’t ready to have those things thrown at me when they were.

Q: How has the community of students at the studio helped you over these six weeks?

I think that my class has gotten very, very close in the time that we spent together because we’ve had these breakdowns throughout level and all experienced this growth together, which is a charming feeling, to have all those people become so close to you and be so comfortable with them in a short time span.

Also, in the auxiliary classes, having the people from the two-year program who are a year in or things like that has been very helpful, just in terms of the fact that they have a point of perspective on the studio and on the work that we do in acting class where, of course, they won’t give anything away, but they’re very understanding of where we are at different times of the week and things like that.

Q: What part of the Meisner technique is resonating with you most?

I think the incorporation of the repetition exercise into scene work, where you use the repeat exercise to repeat things that are said to you and help– What’s being told to you land on you more clearly is very helpful in scene work because it enables you to listen more because you have to go over what they just said to you and take it in at that moment. I think that that’s something I’m going to maintain in any scene work that I do.

Q: How would you describe Charlie as a teacher?

Charlie is not comfortable on you, but he’s very fair. He’s not easy on anyone which is the significant part of it, but none of it is personal or anything like that. It’s just very much an environment where everyone grows. He’s very fair in general but hehe doesn’t spoon feed anything to- anything like that.

Q: Why would you tell someone that they should do the six-week summer intensive at Maggie Flanigan Studio?

I would tell them that they should do the intensive because, as far as I know, myself and everyone else in my class speak about this experience in a way where it changed our lives. I think that it can do that for any person because you start with this essential thing and you get to know yourself, both as an actor and as a person. I think that’s something that can advance and benefit anyone at any point in their life, probably.

Best Meisner Summer Acting Program New York – Maggie Flanigan Studio – Call (917) 789-1599

The Application Process for the Meisner Summer Acting Program

Students who are interested in studying the Meisner Technique the way that Sanford Meisner originally conceived the training, should apply online for admission to the Maggie Flanigan Studio and schedule an interview as soon as possible. Potential students with questions should call (917) 789-1599.

The post Meisner Summer Acting Program: Kate Pitney appeared first on Meisner Acting - The Maggie Flanigan Studio New York NY - 917-789-1599.

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Meisner Summer Acting Program New York - Kate Pitney Interview - Call (917) 789-1599

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New York Summer Acting Program - Andrel McPherson - Maggie Flanigan Studio

New York Summer Acting Program - Andrel McPherson - Maggie Flanigan Studio www.maggieflaniganstudio.com/summer-acting-programs/andre... The New York summer acting program at the Maggie Flanigan Studio includes the Six-Week Meisner Summer Intensive. The acting intensive is based on the training that Sanford Meisner created to teach professional actors. Here in this video, Andrel McPherson discusses the acting program. Learn more about the New York Acting Program at the Maggie Flanigan studio by visiting the acting program and acting classes page on the studio website. Actors who are interested in the programs at the studio should apply online and call the studio with questions by calling (917) 789-1599. Q: Andrel, what did you think it meant to train as an actor before you started the Six-Week Summer Intensive at the Maggie Flanigan Studio? A: I thought it was about taking your own time to read as many plays as possible, studying other actors and then getting on stage and just figuring it out for yourself and hoping that a moment happens or you feel something by yourself. I had no idea nor did I ever imagine that it would take so much of myself to bring it out there then, which makes sense. Before you started doing work like this, you think that you're doing that and then when you start doing it, it's like, "Oh my gosh, that's a lot more work than I thought it would be." Q: Well, what do you think it means now to train? A: Making everything so personal for yourself and being able to focus tremendously on, not yourself, but what everyone else is giving you in the moment, which is hard because you're always in your head. You're trying to make sure that you're giving the best to them, but then you have to feel it and be in that moment, paying attention to every single detail which is exhausting when you're starting off this type of training. I guess just the most significant thing I've taken away from this is trying to pay attention to my point of view and how I'm feeling in a moment and how I can express that improv through whatever. Q: What happened throughout the six weeks that changed your perspective on acting and training? A: Charlie going off on me. It was exactly what I needed. Not because I didn't realize, I did not know that it would take that much out of me until someone was just like, "You're giving us a lot of bull, let's not do that anymore." Then there was this moment where I'm like, "Crap, but no, I want this. I want to try." Then you continue to dig deeper and deeper in yourself. That's when you find one little nugget of something, and it's like, "Okay. I see it now. I see what he was talking about." A lot of those good moments. Q: What did you learn about yourself, that was a surprise or that changed you? A: How willing I am to be open? I wasn't expecting myself to allow so much of someone else to come into me just because that's not how the world works. We're huge on trying to protect everything that we have. To know that I have it in me to pay attention and to experience what someone else is feeling and giving me was honestly just-- It's so exciting. Q: I know you haven't studied the Meisner technique before but now that you've just trained for the past six weeks, what do you think is the thing that you've learned that will resonate with you the most? A: Process, really and truly, knowing that there has to be one and there's just no way around it because everything else in life has a process. I don't know why I thought that I couldn't be any different. I'm so mad about myself. I've wasted so much time, but it's okay. Q: A lot of people do have that misconception about being an actor. A: Exactly. Yes, the process would be it for me. It's so exciting to know that there is one and it's working for me. It's not just something I made up on my own. It's like there is tradition behind it. There's the reasoning behind it. There's an explanation for everything as to why you should do it and why you shouldn't. It's literally like you're given a map to go out and have fun. Q: You're also a writer. How has what you've learned throughout these six weeks helped you as a writer and not just an actor? A: I don't write about what I don't care about anymore if that makes sense. It's straightforward to get caught up in writing what you think you should be writing about. If anything, I learned in Meisner that what I think I care about and what I care about are two completely different things. It's been nice to see myself be a lot rawer and honest with what I'm writing and not being so afraid to put it on the page and being comfortable with all ugly sides of myself, all pretty sides, just like every form that there is in me. Q: You've also studied at other studios with other teachers. What's been the most significant difference between Maggie Flanigan and other studios? A: The attention and the dedication to not caring about ego and just being there and putting in the work to make sure that I'm putting in my work. It's easy at other places that I've trained at to get lost in the crowd there. Charlie was just so adamant about giving everyone their time and making sure that you had what you needed. He wasn't trying to do it off of the whole class. It's an individual. It helped you grow in the way that you needed to build, and not necessarily in what other people may need. Here, there has been so much attention, so much specificity as to what I needed which is what I came here for. It's been great just having someone and a group of artists, able to hone in on what I could bring out of myself. Q: What about the sense of community within your class? A: They're my family. I love so many of them now. It's been- oh, gosh. I love them. I do. I can't believe-- For one, it's bizarre now that we can talk about whatever we want to because you break down so many of the walls. In the first two weeks, you'll cry [laughs] for whatever reason. That was just like, "You know things about me that my own family doesn't know about me." It's been so rewarding to be a part of this environment, which is another reason why I love acting. You're always steadily building a new family. I have another one now. Q: How would you describe Charlie as a teacher? A: Charlie is fantastic. He is so tough. You will walk away from some classes feeling down, but you have to remember that it's never out of place of malice. He's just really not going to give you any crap about what he thinks that you need. The man knows what he's doing, I think, at least from my perspective. He's been so tough when needed, but also so soft when I needed him to. It's almost scary where he knows the line. Like right when I'm like really getting into my head, that's when he'll say something that I need to hear. He is good at balancing, and I would say — a great, great person to learn from. Q: What would you say to someone who says, "Oh, I don't need more training," or, "It's too expensive? A: If you think you don't need class then I'm sorry for you. You always need to be training. Always. Even the greats say that. You can't ever stop, ever. If you don't think you have the money, that's such a hard thing, but it's worth it. I guess, really worth it. I know in the beginning, I was like, "Oh my God. Am I doing this? Am I about to drop this money?" Now, here I am and I would drop it all over again if I had it and if I could. Every time, I would. It's been so giving to what I'm trying to work towards. It's been more so an investment thing like, "Is it worth the money?" Q: And you're moving to LA in a few weeks? A: Yes. Q: How do you feel going out there? Do you feel more confident than you did six weeks ago? Interviewee: I feel excited, very excited to know that now I have this other part of me to bring over there. I also have the knowledge that I want to keep training. I'm going out there, and I'm not just going to be doing what I was doing before and just sitting around and waiting for a blessing to fall on my lap. It's a good feeling to know that I'm going over somewhere else with all this energy, all this excitement, and I'm pumped. Yes, I'm excited for sure. https://flic.kr/p/2eev779

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Summer Acting Program - Andrel McPherson - Maggie Flanigan Studio 01

Summer Acting Program - Andrel McPherson - Maggie Flanigan Studio 01 The New York summer acting program at the Maggie Flanigan Studio includes the Six-Week Meisner Summer Intensive. The acting intensive is based on the training that Sanford Meisner created to teach professional actors. Here in this video, Andrel McPherson discusses the acting program. Q: Andrel, what did you think it meant to train as an actor before you started the Six-Week Summer Intensive at the Maggie Flanigan Studio? A: I thought it was about taking your own time to read as many plays as possible, studying other actors and then getting on stage and just figuring it out for yourself and hoping that a moment happens or you feel something by yourself. I had no idea nor did I ever imagine that it would take so much of myself to bring it out there then, which makes sense. Before you started doing work like this, you think that you're doing that and then when you start doing it, it's like, "Oh my gosh, that's a lot more work than I thought it would be." Q: Well, what do you think it means now to train? A: Making everything so personal for yourself and being able to focus tremendously on, not yourself, but what everyone else is giving you in the moment, which is hard because you're always in your head. You're trying to make sure that you're giving the best to them, but then you have to feel it and be in that moment, paying attention to every single detail which is exhausting when you're starting off this type of training. I guess just the most significant thing I've taken away from this is trying to pay attention to my point of view and how I'm feeling in a moment and how I can express that improv through whatever. Learn more about the New York Acting Program at the Maggie Flanigan studio by visiting the acting program and acting classes page on the studio website. Actors who are interested in the programs at the studio should apply online and call the studio with questions by calling (917) 789-1599. 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/Rz41Ug

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Summer Acting Program - Andrel McPherson - Maggie Flanigan Studio 02

Summer Acting Program - Andrel McPherson - Maggie Flanigan Studio 02 The New York summer acting program at the Maggie Flanigan Studio includes the Six-Week Meisner Summer Intensive. The acting intensive is based on the training that Sanford Meisner created to teach professional actors. Here in this video, Andrel McPherson discusses the acting program. Q: What happened throughout the six weeks that changed your perspective on acting and training? A: Charlie going off on me. It was exactly what I needed. Not because I didn't realize, I did not know that it would take that much out of me until someone was just like, "You're giving us a lot of bull, let's not do that anymore." Then there was this moment where I'm like, "Crap, but no, I want this. I want to try." Then you continue to dig deeper and deeper in yourself. That's when you find one little nugget of something, and it's like, "Okay. I see it now. I see what he was talking about." A lot of those good moments. Q: What did you learn about yourself, that was a surprise or that changed you? A: How willing I am to be open? I wasn't expecting myself to allow so much of someone else to come into me just because that's not how the world works. We're huge on trying to protect everything that we have. To know that I have it in me to pay attention and to experience what someone else is feeling and giving me was honestly just-- It's so exciting. Learn more about the New York Acting Program at the Maggie Flanigan studio by visiting the acting program and acting classes page on the studio website. Actors who are interested in the programs at the studio should apply online and call the studio with questions by calling (917) 789-1599. 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/Rz41Wk

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Summer Acting Program - Andrel McPherson - Maggie Flanigan Studio 03

Summer Acting Program - Andrel McPherson - Maggie Flanigan Studio 03 The New York summer acting program at the Maggie Flanigan Studio includes the Six-Week Meisner Summer Intensive. The acting intensive is based on the training that Sanford Meisner created to teach professional actors. Here in this video, Andrel McPherson discusses the acting program. Q: I know you haven't studied the Meisner technique before but now that you've just trained for the past six weeks, what do you think is the thing that you've learned that will resonate with you the most? A: Process, really and truly, knowing that there has to be one and there's just no way around it because everything else in life has a process. I don't know why I thought that I couldn't be any different. I'm so mad about myself. I've wasted so much time, but it's okay. Q: A lot of people do have that misconception about being an actor. A: Exactly. Yes, the process would be it for me. It's so exciting to know that there is one and it's working for me. It's not just something I made up on my own. It's like there is tradition behind it. There's the reasoning behind it. There's an explanation for everything as to why you should do it and why you shouldn't. It's literally like you're given a map to go out and have fun. Q: You're also a writer. How has what you've learned throughout these six weeks helped you as a writer and not just an actor? A: I don't write about what I don't care about anymore if that makes sense. It's straightforward to get caught up in writing what you think you should be writing about. If anything, I learned in Meisner that what I think I care about and what I care about are two completely different things. It's been nice to see myself be a lot rawer and honest with what I'm writing and not being so afraid to put it on the page and being comfortable with all ugly sides of myself, all pretty sides, just like every form that there is in me. Learn more about the New York Acting Program at the Maggie Flanigan studio by visiting the acting program and acting classes page on the studio website. Actors who are interested in the programs at the studio should apply online and call the studio with questions by calling (917) 789-1599. 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/Rz41VD

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If you want to be an actor, study at the Maggie Flanagan Studio and if you are an actor,... https://flic.kr/p/2fknpxk

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If you want to be an actor, study at the Maggie Flanagan Studio and if you are an actor,... https://flic.kr/p/2dWkUuc

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Finding the Best Summer Acting Program - Austin Kairis - Call (917) 789-1599

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The Glorious Adventure of the Creative Process

The Maggie Flanigan Studio trains professional actors ready to enter the business with a solid craft and a clearly defined work ethic. In this video Charlie Sandlan discusses what actors need to do to truly be considered great actors.

Our studio is not a place for everyone. We are a serious, professional training program, dedicated to the technique of Sandy Meisner. The incredibly hard work our students commit themselves to rests in their desire to be the best actor and artist possible. Our rooms bustle with creative energy, with actors who have the passion, grit, and determination to work through their creative issues. They are encouraged by all of our wonderful teachers to play full out with themselves; to strive to develop into a well-trained, professional actor and artist who's ready to enter the business with a solid craft and an inviolate work ethic. We believe in the actor as artist, one that courageously functions from the human heart in order to illuminate the human condition in all its aspects.

Acting is a collaborative, transformative art, which requires a well-developed instrument. Body, voice and temperament must be fully accessible in order to take on major roles. We train for the top of the profession; actors who possess the craft, self-discipline and artistry to breathe life into the characters of Eugene O'Neil, Tennessee Williams, Edward Albee, Chekhov, Shanley, Mamet, Beckett, and Shakespeare to name just a few. You cannot bring pedestrian, everyday behavior to work like this. So the actor must train. And as is the case with any art form, it's not an intellectual pursuit. The best training helps the actor begin operating with spontaneity from their heart and not their head. Meisner's technique accomplishes this while also instilling in the actor the important fundamentals, which form the foundation of their craft. These must be second nature. Art is personal, and acting is no different. If it's not, what value is it? The audience lives vicariously through the actors on stage, and if an actor is tense, pedestrian or incapable of illuminating the circumstance of the scene, the audience will not experience very much.

Many people have the dream of being an actor and first-rate artist. My hope as a teacher is to inspire in my students the desire to work hard in order to achieve just that. I want to teach students who are willing to give their best effort every single day; who want to look at class as an opportunity to go the distance with themselves. I want our studio filled with hungry risk takers who put their deepest feelings to the service of their art. Maggie has often quoted the great poet Stanley Kunitz who said something once about the artist that has never left me; "A trapeze artist on his high wire is performing and defying death at the same time. He's doing more than showing off his skill: he's using his skill to stay alive. Art demands that sense of risk, of danger. But few artists in any period risk their lives. The most insidious enemy of the good is not so much the bad as it is the second best."

So as a teacher, I support a student's struggle to put the work together, but I will not take the struggle away. It would be a disservice to them if I did. If you are looking for a place to train, do your research, ask around, and look at our website ( https://www.maggieflaniganstudio.com/ ) to see who we are and what we stand for. The Maggie Flanigan Studio is intimate and nurturing, a home for serious actors to engage in the glorious adventure of the creative process. I admire and am inspired by all of them. It's what gets me up every day and pushes me to be the best artist and teacher I can. I love acting. I love actors. And I love the studio Maggie and I have created.

Acting Programs at the Maggie Flanigan Studio

Learn more about the acting classes and training programs that the studio provides by visiting the acting programs page on the studio website. Students who have questions about the enrollment process can call the studio directly at (917) 789-1599.

The preceding article The Glorious Adventure of the Creative Process was first published on Acting Classes Blog

via The Glorious Adventure of the Creative Process
by Maggie Flanigan

The Glorious Adventure of the Creative Process

The Maggie Flanigan Studio trains professional actors ready to enter the business with a solid craft and a clearly defined work ethic. In this video Charlie Sandlan discusses what actors need to do to truly be considered great actors.

Why Actors Need to Train Constantly | Charlie Sandlan | 917-789-1599

Our studio is not a place for everyone. We are a serious, professional training program, dedicated to the technique of Sandy Meisner. The incredibly hard work our students commit themselves to rests in their desire to be the best actor and artist possible. Our rooms bustle with creative energy, with actors who have the passion, grit, and determination to work through their creative issues. They are encouraged by all of our wonderful teachers to play full out with themselves; to strive to develop into a well-trained, professional actor and artist who’s ready to enter the business with a solid craft and an inviolate work ethic. We believe in the actor as artist, one that courageously functions from the human heart in order to illuminate the human condition in all its aspects.

"I want to teach students who are willing to give their best effort every single day; who want to look at class as an opportunity to go the distance with themselves."

Charlie SandlanHead of Acting

Acting is a collaborative, transformative art, which requires a well-developed instrument. Body, voice and temperament must be fully accessible in order to take on major roles. We train for the top of the profession; actors who possess the craft, self-discipline and artistry to breathe life into the characters of Eugene O’Neil, Tennessee Williams, Edward Albee, Chekhov, Shanley, Mamet, Beckett, and Shakespeare to name just a few. You cannot bring pedestrian, everyday behavior to work like this. So the actor must train. And as is the case with any art form, it’s not an intellectual pursuit. The best training helps the actor begin operating with spontaneity from their heart and not their head. Meisner’s technique accomplishes this while also instilling in the actor the important fundamentals, which form the foundation of their craft. These must be second nature. Art is personal, and acting is no different. If it’s not, what value is it? The audience lives vicariously through the actors on stage, and if an actor is tense, pedestrian or incapable of illuminating the circumstance of the scene, the audience will not experience very much.

Many people have the dream of being an actor and first-rate artist. My hope as a teacher is to inspire in my students the desire to work hard in order to achieve just that. I want to teach students who are willing to give their best effort every single day; who want to look at class as an opportunity to go the distance with themselves. I want our studio filled with hungry risk takers who put their deepest feelings to the service of their art. Maggie has often quoted the great poet Stanley Kunitz who said something once about the artist that has never left me; “A trapeze artist on his high wire is performing and defying death at the same time. He’s doing more than showing off his skill: he’s using his skill to stay alive. Art demands that sense of risk, of danger. But few artists in any period risk their lives. The most insidious enemy of the good is not so much the bad as it is the second best.”

So as a teacher, I support a student’s struggle to put the work together, but I will not take the struggle away. It would be a disservice to them if I did. If you are looking for a place to train, do your research, ask around, and look at our website ( https://www.maggieflaniganstudio.com/ ) to see who we are and what we stand for. The Maggie Flanigan Studio is intimate and nurturing, a home for serious actors to engage in the glorious adventure of the creative process. I admire and am inspired by all of them. It’s what gets me up every day and pushes me to be the best artist and teacher I can. I love acting. I love actors. And I love the studio Maggie and I have created.

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

Acting Programs at the Maggie Flanigan Studio

Learn more about the acting classes and training programs that the studio provides by visiting the acting programs page on the studio website. Students who have questions about the enrollment process can call the studio directly at (917) 789-1599.

The post The Glorious Adventure of the Creative Process appeared first on Meisner Acting - The Maggie Flanigan Studio New York NY - 917-789-1599.

via The Glorious Adventure of the Creative Process
by Maggie Flanigan

Glorious Adventure of the Creative Process - Maggie Flanigan Studio - Call (917) 789-1599

Watch video on YouTube here: https://youtu.be/ecExk4Vqo1M
via Maggie Flanigan Studio
via Glorious Adventure of the Creative Process - Maggie Flanigan Studio - Call (917) 789-1599
by Maggie Flanigan

Austin Kairis: Six Week Summer Acting Program

The Meisner Summer Intensive at the Maggie Flanigan Studio allows actors to experience the first part of the professional actor training program as initially conceived by Sanford Meisner. In this section of the interview at the studio, Austin Kairis talks about starting the six-week summer acting program.

Q: Austin, tell me about your background in acting before you started the Six-Week Summer Acting Program at Maggie Flanigan Studio.

A: My experience in acting before I came to Maggie Flanigan was pretty much just high school, president of the drama club, things like that. It wasn't anything super challenging, and it was just fun. It was always something I loved. When I was 12, I was the lead in a college production. That was my lead to things. My family doesn't know anything about acting, so we had no idea how to get into the business, so I was doing like a community--

My parents didn't even want me to be in it necessarily, but they knew that I liked to do it. They found a community college that I auditioned for. I was the lead in this community college play. That just trickled into high school and things like that. Then we found out that you should get an agent or something like that in Chicago, so I got one, but that took a little bit different route with modeling and stuff. I had a one-liner on Chicago Fire and a one-liner in a movie that was shot in Chicago. I didn't have any technique at all. It was pretty much just luck, maybe raw talent, and only my charisma.

Q: What were you doing before you came to the studio? Were you studying anywhere else in New York, were you taking classes, auditioning?

A: I was not auditioning at all in New York, but I did take a few classes at Susan Batson Studio. I did like it, but I didn't have any foundation to use. Also, I'm not 100% sure I love the Strasberg technique. I want to learn more about it may be. I do like Meisner a lot. I studied at UCB. I love comedy. I feel like there was a part of me which I still love comedy and it hits hard. I have a lot of respect for it, but there was part of me that thought I wasn't severe enough to do dramatic work.

After talking to some friends, I heard Maggie Flanigan come up over and over and over again. I've always known when I studied on Stella Adler, Meisner, Strasberg; I always knew that Meisner was something that I wanted to do. I thought I had a vivid imagination and I feel like this is the one that takes advantage of that. That's how I knew I wanted to do this program.

Q: What do you think it meant to train as an actor before you started the six-week Summer Intensive?

A: Honestly, I'm not even entirely sure I had an opinion on what it meant to be a trained actor. Charlie has also said it before; actors are the least respected art form because anyone can do it. Anyone can do it. That doesn't mean you're doing it well or doing it with a purpose, intention, emotion. As you see, you can watch a great Netflix series. The stars are there; they're acting, they're saying their lines to each other.

I don't know. I feel like this training is making me more attuned to who I am as a person and what kind of artist I want to be. I don't want to be just an actor; I want to be an artist. I am an artist. Through that artistry, I decided to act, and that's how I do it. Before, I didn't have too much of an idea of training. Now I realized how important training is.

Q: What do you think it means to train now as an actor?

A: What do I think it means now to train as an actor? I think it means to have a real severe, dedicated disciplined passion for acting. You can have all the talent in the world, but if you're not committed to putting in the work and the discipline, you might get far, I don't know, but you're not going to be fulfilled in at least the way that I'm learning to be authentically happy doing my art, if that makes sense.

Q: What happened during the six-week Summer Intensive specifically that changed your perspective on acting and training?

A: A lot of failures, honestly. A lot of falling but having the gumption and the bravery to keep coming back because it's something I do care about, and then finding ways to look at a failure as an opportunity to learn and succeed in something else. Just the idea that the community that we built here and how vulnerable you can be and intimate. That's really what I fell in love with the studio. It's just such a high culture to be a part of. It's so welcoming to be as free and expressive and imaginative as possible. That's the mark that made me happy to be here.

I love the studio. I love the people. I like what we're learning. It's not always easy. It's most of the time not easy at all, but I'm not here to be patted on the back, I'm here to learn how to be what I'm destined to be.

Q: What did you learn about yourself during the Summer Intensive that was a surprise or that changed you?

A: I learned way too much about myself. I learned that I'm such a people pleaser. I learned that I have a thematic cord of unrequited love. I just learned that-- I learned-- I could talk about this forever, but I learned a lot about myself. What has meaning to me, what it means for me to be an artist, what it means for me to be a passionate person, to have discipline. Yes, I just learned a lot about the inner workings of how my emotions run within myself, and how my imagination works, and just how I maneuver with people outside of acting like how I interact with my family, how I communicate with people on the street.

It's just opened my eyes to-- I'm not 100% there yet, but to knowing more and more of who my authentic self is when you cut out all the societal or normalized perceptions that we have of ourselves or that we think that others have of us.

Q: Two part question, when you started the Summer Intensive, was it your intention to do the six weeks and not go into the two-year program?

A: Yes.

Q: What made you after the six-week Summer Acting Program, make the big commitment to take the leap and join the two-year program?

A: Yes, I only thought I was going to be in the six-week program. Just because I was testing the waters, I'm not going to lie. It's a big financial commitment, and it's a big time commitment. I have a lot of other commercial and time commitments, but it's something that I care about. It's the one thing I care most about is being an actor. I found a way to make it happen for me to join the first year.

What really made me commit to that decision was just saying how much I did grow in only six weeks and then having the confidence in myself to know that I'm able to take on this task and to keep learning and growing, and even though it might not be at the pace as everyone else, that's something that I also loved and learned about Maggie. Inherently, it's a competitive environment because it's school. You're not trying to compare yourself to others, you're supportive, at least at the studio. Supportive of one another, and you work and learn from each other because you're partnered, and you get so much from the other people.

I think that the community that I built over the summer made me. Even if I didn't know they'd be going into the first year, I knew I could build that same community here because that's just the environment that it cultivates for artists.

Learn More About the Six-Week Summer Acting Program

Actors who are interested in the Meisner Summer Intensive can visit the studio website (https://www.maggieflaniganstudio.com/) to learn more about the summer acting programs. Admission to the studio is based on an interview with the head of acting for the studio, Charlie Sandlan. Interested actors should begin the process by completing the online studio application.

The above post Austin Kairis: Six Week Summer Acting Program Find more on: Acting Classes NYC

via Austin Kairis: Six Week Summer Acting Program
by Maggie Flanigan

Six Week Summer Acting Program: Austin Kairis - Call (917) 789-1599

Watch video on YouTube here: https://youtu.be/SOplF3oo7RE
via Maggie Flanigan Studio
via Six Week Summer Acting Program: Austin Kairis - Call (917) 789-1599
by Maggie Flanigan

Austin Kairis: Six Week Summer Acting Program

The Meisner Summer Intensive at the Maggie Flanigan Studio allows actors to experience the first part of the professional actor training program as initially conceived by Sanford Meisner. In this section of the interview at the studio, Austin Kairis talks about starting the six-week summer acting program.

Summer Acting Program – Maggie Flanigan Studio – Austin Kairis Interview Pt 1

Q: Austin, tell me about your background in acting before you started the Six-Week Summer Acting Program at Maggie Flanigan Studio.

A: My experience in acting before I came to Maggie Flanigan was pretty much just high school, president of the drama club, things like that. It wasn’t anything super challenging, and it was just fun. It was always something I loved. When I was 12, I was the lead in a college production. That was my lead to things. My family doesn’t know anything about acting, so we had no idea how to get into the business, so I was doing like a community–

"I don't want to be just an actor; I want to be an artist. This training is making me more attuned to who I am as a person and what kind of artist I want to be."

Austin KairisStudent, Summer Acting Program

My parents didn’t even want me to be in it necessarily, but they knew that I liked to do it. They found a community college that I auditioned for. I was the lead in this community college play. That just trickled into high school and things like that. Then we found out that you should get an agent or something like that in Chicago, so I got one, but that took a little bit different route with modeling and stuff. I had a one-liner on Chicago Fire and a one-liner in a movie that was shot in Chicago. I didn’t have any technique at all. It was pretty much just luck, maybe raw talent, and only my charisma.

Q: What were you doing before you came to the studio? Were you studying anywhere else in New York, were you taking classes, auditioning?

A: I was not auditioning at all in New York, but I did take a few classes at Susan Batson Studio. I did like it, but I didn’t have any foundation to use. Also, I’m not 100% sure I love the Strasberg technique. I want to learn more about it may be. I do like Meisner a lot. I studied at UCB. I love comedy. I feel like there was a part of me which I still love comedy and it hits hard. I have a lot of respect for it, but there was part of me that thought I wasn’t severe enough to do dramatic work.

After talking to some friends, I heard Maggie Flanigan come up over and over and over again. I’ve always known when I studied on Stella Adler, Meisner, Strasberg; I always knew that Meisner was something that I wanted to do. I thought I had a vivid imagination and I feel like this is the one that takes advantage of that. That’s how I knew I wanted to do this program.

Q: What do you think it meant to train as an actor before you started the six-week Summer Intensive?

A: Honestly, I’m not even entirely sure I had an opinion on what it meant to be a trained actor. Charlie has also said it before; actors are the least respected art form because anyone can do it. Anyone can do it. That doesn’t mean you’re doing it well or doing it with a purpose, intention, emotion. As you see, you can watch a great Netflix series. The stars are there; they’re acting, they’re saying their lines to each other.

I don’t know. I feel like this training is making me more attuned to who I am as a person and what kind of artist I want to be. I don’t want to be just an actor; I want to be an artist. I am an artist. Through that artistry, I decided to act, and that’s how I do it. Before, I didn’t have too much of an idea of training. Now I realized how important training is.

Summer Acting Program – The Meisner Summer Intensive Begins

Q: What do you think it means to train now as an actor?

A: What do I think it means now to train as an actor? I think it means to have a real severe, dedicated disciplined passion for acting. You can have all the talent in the world, but if you’re not committed to putting in the work and the discipline, you might get far, I don’t know, but you’re not going to be fulfilled in at least the way that I’m learning to be authentically happy doing my art, if that makes sense.

Q: What happened during the six-week Summer Intensive specifically that changed your perspective on acting and training?

A: A lot of failures, honestly. A lot of falling but having the gumption and the bravery to keep coming back because it’s something I do care about, and then finding ways to look at a failure as an opportunity to learn and succeed in something else. Just the idea that the community that we built here and how vulnerable you can be and intimate. That’s really what I fell in love with the studio. It’s just such a high culture to be a part of. It’s so welcoming to be as free and expressive and imaginative as possible. That’s the mark that made me happy to be here.

I love the studio. I love the people. I like what we’re learning. It’s not always easy. It’s most of the time not easy at all, but I’m not here to be patted on the back, I’m here to learn how to be what I’m destined to be.

Meisner Six-Week Summer Acting Program – Maggie Flanigan Studio – Call 917-789-1599

Q: What did you learn about yourself during the Summer Intensive that was a surprise or that changed you?

A: I learned way too much about myself. I learned that I’m such a people pleaser. I learned that I have a thematic cord of unrequited love. I just learned that– I learned– I could talk about this forever, but I learned a lot about myself. What has meaning to me, what it means for me to be an artist, what it means for me to be a passionate person, to have discipline. Yes, I just learned a lot about the inner workings of how my emotions run within myself, and how my imagination works, and just how I maneuver with people outside of acting like how I interact with my family, how I communicate with people on the street.

It’s just opened my eyes to– I’m not 100% there yet, but to knowing more and more of who my authentic self is when you cut out all the societal or normalized perceptions that we have of ourselves or that we think that others have of us.

Q: Two part question, when you started the Summer Intensive, was it your intention to do the six weeks and not go into the two-year program?

A: Yes.

Q: What made you after the six-week Summer Acting Program, make the big commitment to take the leap and join the two-year program?

A: Yes, I only thought I was going to be in the six-week program. Just because I was testing the waters, I’m not going to lie. It’s a big financial commitment, and it’s a big time commitment. I have a lot of other commercial and time commitments, but it’s something that I care about. It’s the one thing I care most about is being an actor. I found a way to make it happen for me to join the first year.

What really made me commit to that decision was just saying how much I did grow in only six weeks and then having the confidence in myself to know that I’m able to take on this task and to keep learning and growing, and even though it might not be at the pace as everyone else, that’s something that I also loved and learned about Maggie. Inherently, it’s a competitive environment because it’s school. You’re not trying to compare yourself to others, you’re supportive, at least at the studio. Supportive of one another, and you work and learn from each other because you’re partnered, and you get so much from the other people.

I think that the community that I built over the summer made me. Even if I didn’t know they’d be going into the first year, I knew I could build that same community here because that’s just the environment that it cultivates for artists.

Six-Week Summer Acting Program in New York at Maggie Flanigan Studio with Charlie Sandlan

Learn More About the Six-Week Summer Acting Program

Actors who are interested in the Meisner Summer Intensive can visit the studio website (https://www.maggieflaniganstudio.com/) to learn more about the summer acting programs. Admission to the studio is based on an interview with the head of acting for the studio, Charlie Sandlan. Interested actors should begin the process by completing the online studio application.

The post Austin Kairis: Six Week Summer Acting Program appeared first on Meisner Acting - The Maggie Flanigan Studio New York NY - 917-789-1599.

via Austin Kairis: Six Week Summer Acting Program
by Maggie Flanigan

Awareness. Acceptance. Allowance.

Sara Fay George teaches movement classes for actors at the Maggie Flanigan Studio in New York. In this blog post, Sara discusses the different levels of the creative process.

Movement Classes for Actors – Maggie Studio – Sara Fay George

Awareness. Acceptance. Allowance. Although deceivingly simple these, three principles create the foundation of any prosperous, creative process. Once initiated, this cycle creates a perpetual motion of honesty, spontaneity, and expression that springs from a deep, genuine place within the artist.

Awareness exists in us on different levels; emotional experiences, physical tensions, and repeating thought and life patterns. Consciousness works like magic: it is the light that allows us to perceive. Without it we would live in darkness, unaware of ourselves, unaware of each other. Without awareness, we are not able to change, but when we hone our awareness, quiet our minds, and bring our focus and attention to whatever is within or before us, the creative work can truly begin.

"Within each of us, there is an infinite well of life and inspiration. We can always move deeper, be more honest, truthful, expressive, creative."

Sara Fay GeorgeMovement Class, Faculty

On the road to honing this awareness, there are common tendencies that are important to be aware of. Judgment creates one of the most fore-running barriers to our creative work and can stop our process even before we begin. This brings us to the importance of acceptance. Acceptance is defined as the action of consenting to receive or undertake something offered. In acting, the processing of raw and powerful states of emotion must happen continuously and instantaneously. As artists, it is our calling to take our raw experiences and translate them through different mediums, be it paint, clay, or in the actor’s case, motion and sound. We spend an extreme amount of energy fighting and resisting our experiences. Before we can give an experience our full expression, we must welcome it with open arms no matter how extreme, intense, or painful.  This is when the practice of acceptance comes into play. We consent to receive what is offered to us in a moment. Once we are no longer fighting our experience, our energy is free to move into forms of expression.

Allowing. This is where the real magic takes place and is perhaps the most overlooked. To create the most truthful performance, we must step out of our way. Often I see students in patterns of striving for intense emotional experiences. They want to cry, to lose themselves in the depth of their own emotion, but it is precisely the tension created by this grasping effort that keeps them from the goal they so long for. Allowance is about giving yourself permission to live the truth of the moment. All the emotional life you could ever dream of is already inside of you. You do not need to create it, manufacture it, or push it. You need to allow it. This opening, in combination with awareness and acceptance, begins to create a cycle and flow of energy in the artist.

When we have an intimate connection with ourselves, our creative expression evolves. We begin to tap into parts of ourselves that had lain hidden in the shadows, resulting in a transformation of our art and craft. This self-exploration sets our energy free, and we are then able to tap into deeper roots of expression and inspiration without any extraneous effort.  What is so beautiful about this process is that it never stops. Within each of us, there is an infinite well of life and inspiration. We can always move deeper, be more honest, truthful, expressive, creative. We must take the dive, and we will find ourselves alive.

Movement Class for Actors with Sara Fay George – Maggie Flanigan Studio in New York

Movement Classes at the Maggie Flanigan Studio

Learn more about movement classes at the Maggie Flanigan Studio by visiting the acting programs and classes page on the studio website. Students who are interested in applying for admission can start their application process online.

The post Awareness. Acceptance. Allowance. appeared first on Meisner Acting - The Maggie Flanigan Studio New York NY - 917-789-1599.

via Awareness. Acceptance. Allowance.
by Maggie Flanigan

Awareness. Acceptance. Allowance.

Sara Fay George teaches movement classes for actors at the Maggie Flanigan Studio in New York. In this blog post, Sara discusses the different levels of the creative process.

Awareness. Acceptance. Allowance. Although deceivingly simple these, three principles create the foundation of any prosperous, creative process. Once initiated, this cycle creates a perpetual motion of honesty, spontaneity, and expression that springs from a deep, genuine place within the artist.

Awareness exists in us on different levels; emotional experiences, physical tensions, and repeating thought and life patterns. Consciousness works like magic: it is the light that allows us to perceive. Without it we would live in darkness, unaware of ourselves, unaware of each other. Without awareness, we are not able to change, but when we hone our awareness, quiet our minds, and bring our focus and attention to whatever is within or before us, the creative work can truly begin.

On the road to honing this awareness, there are common tendencies that are important to be aware of. Judgment creates one of the most fore-running barriers to our creative work and can stop our process even before we begin. This brings us to the importance of acceptance. Acceptance is defined as the action of consenting to receive or undertake something offered. In acting, the processing of raw and powerful states of emotion must happen continuously and instantaneously. As artists, it is our calling to take our raw experiences and translate them through different mediums, be it paint, clay, or in the actor's case, motion and sound. We spend an extreme amount of energy fighting and resisting our experiences. Before we can give an experience our full expression, we must welcome it with open arms no matter how extreme, intense, or painful.  This is when the practice of acceptance comes into play. We consent to receive what is offered to us in a moment. Once we are no longer fighting our experience, our energy is free to move into forms of expression.

Allowing. This is where the real magic takes place and is perhaps the most overlooked. To create the most truthful performance, we must step out of our way. Often I see students in patterns of striving for intense emotional experiences. They want to cry, to lose themselves in the depth of their own emotion, but it is precisely the tension created by this grasping effort that keeps them from the goal they so long for. Allowance is about giving yourself permission to live the truth of the moment. All the emotional life you could ever dream of is already inside of you. You do not need to create it, manufacture it, or push it. You need to allow it. This opening, in combination with awareness and acceptance, begins to create a cycle and flow of energy in the artist.

When we have an intimate connection with ourselves, our creative expression evolves. We begin to tap into parts of ourselves that had lain hidden in the shadows, resulting in a transformation of our art and craft. This self-exploration sets our energy free, and we are then able to tap into deeper roots of expression and inspiration without any extraneous effort.  What is so beautiful about this process is that it never stops. Within each of us, there is an infinite well of life and inspiration. We can always move deeper, be more honest, truthful, expressive, creative. We must take the dive, and we will find ourselves alive.

Movement Classes at the Maggie Flanigan Studio

Learn more about movement classes at the Maggie Flanigan Studio by visiting the acting programs and classes page on the studio website. Students who are interested in applying for admission can start their application process online.

The above article Awareness. Acceptance. Allowance. is courtesy of Meisner Technique New York NY

via Awareness. Acceptance. Allowance.
by Maggie Flanigan

The Creative Process - Sara Gay George - Maggie Flanigan Studio

Watch video on YouTube here: https://youtu.be/UOGLTPo1dr0
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via The Creative Process - Sara Gay George - Maggie Flanigan Studio
by Maggie Flanigan