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This book, written in collaboration with Dennis Longwell, follows an acting class of eight men and eight women for fifteen months, beginning with the most rudimentary exercises and ending with affecting and polished scenes from contemporary American plays. Throughout these pages Meisner is delight—always empathizing with his students and urging them onward, provoking emotion, laughter, and growing technical mastery from his charges. With an introduction by Sydney Pollack, director of "Out of Africa" and "Tootsie," who worked with Meisner for five years.
"This book should be read by anyone who wants to act or even appreciate what acting involves. Like Meisner's way of teaching, it is the straight goods."—Arthur Miller
"If there is a key to good acting, this one is it, above all others. Actors, young and not so young, will find inspiration and excitement in this book."—Gregory Peck
The author explains the techniques that can help an aspiring actor far from the stage as well as the professional.
| Price | Condition | Delivery | Seller | Action |
| $99.99 | Digital |
| WonderClub |
Jordan Costello
reviewed Sanford Meisner on Acting on September 09, 2013
Sanford Meisner on Acting
De-emphasized affective/emotion memory and instead put focus on the given circumstances of the play.
-acting is doing
-be specific
-an ounce of behavior is worth a pound of words
-emotional dialogue is a ping-pong game
-to transfer the point of concentration outside yourself
-there's no such thing as nothing
-don't think, work from your instincts
-follow your instincts: forget polite or what's socially acceptable; it's imposted, not natural
-don't do anything unless something happens to make you do it
-what you do doesn't depend on you; it depends on the other
-acting is emotional impulses, not intellectualizing
-the truth of your instincts is the root of your foundation
-when you enter the scene, have a reason for entering (it doesn't need to be death-defying, to get a can of soup)
-don't pick up cues, pick up impulses. If the impulse comes at the beginning of a person's line, sustain it; or find a new impulse as their line progresses.
-memorize lines, not emotions; let those develop through scene work
-don't act; live under imaginary circumstances
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