Acting Training for Adults in the Meisner Technique – from anywhere in the world.


Sanford Meisner was a founding member of the Neighborhood Playhouse. From there he developed and refined what is now known as the Meisner approach to acting, a step-by-step procedure of self-investigation for the actor now globally recognized and among the foremost of modern acting techniques.  Check out his work first hand in the trailer below. Not to be confused with Method Acting, Meisner’s approach is against the use of “affective memory” – a hallmark of Method Acting.

Instead, the Meisner Technique emphasizes living truthfully in the given imaginary circumstances. This groundbreaking approach inspired a league of the world’s greatest actors to do their best work and, in turn, some of the finest, most realistic performances the world has ever seen on a stage or screen. His master class in acting shot in 1980 offers Acting Training for Adults in the Meisner Technique from anywhere in the world. For more acting resources check out our Blog.

Sanford Meisner, also known as Sandy, was an American actor and acting teacher who developed an approach to acting instruction that is now known as the Meisner technique.  This approach has been documented in detail in the Sanford Meisner Acting Class DVD.  

How does Meisner’s approach differ from other acting techniques?

Meisner’s contemporary, Lee Strasberg developed the well-known method acting at the Group Theatre based on the use of affective memory recall to inform roles and scene dynamics.  Meisner found Method acting to be unhealthy for a long-term career in acting because it often required a person to relive painful past experiences and focused on memories rather than the present moment.  The Meisner approach differs greatly from Strasberg’s method in that Sandy, like Konstantin Stanislavski, completely abandoned the use of affective memory which is the basis of Method acting.  Instead, Sandy’s teaching emphasizes placing attention on the reality of doing something real in each moment on stage.

Sandy also strongly urges all actors to learn their lines by rote- that is- without any inflection or emotion as if the lines were a phone number.  Learning lines in a neutral manner prevents set tonal patterns in speech as well as setting emotional patterns in the play.  This enables actors to be surprised by a scene even after weeks or years of performance.  When we are able to avoid setting patterns in speech we are able to access a wider range of possible reactions and emotions which allows acting to forever be an adventurous discovery process.

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