The Rise of The Meisner Technique

Recently I've had a few students who have now started at some of the top Drama Schools in the UK/world get in touch to thank me for the training we provided them and how thrilled they are that Meisner is being taught where they now are. This makes my heart sing. 

For as long as I've been training in and teaching this work it has felt quite underground. The majority of actors I met along the way (The North being more behind than London) either saying they'd never heard of it or they'd heard the name but didn't know what it was. But recently there's been a shift which is seriously exciting. 

There could be many reasons for this but my reckoning is based on the rise of mental health awareness. 

Everyone teaches this work differently, of course they do, because no one is Sanford Meisner apart from Sandy himself but there are some key principles that I'd like to believe go wherever the training is:

• Listen with your gut, not your head
• Learning to be better at seeing and listening
• the most important thing about me, is you
• What happens to me depends on you
• It's not about the past or the future, it's about the now
• The foundation of acting is the reality of doing

Until I discovered The Meisner Technique I believed the only way to be truthful as an actor was by experience, therefore I relied heavily on emotional recall - because that'd what I'd been taught, even from a very young age. But here's the thing, if you've not had the training and grounding to trust yourself and be safe in the knowledge of all those beautiful emotions you're full of, how could recalling the most traumatic event of your life (for example) for the good of your role be good for your mental health? My mum died in 2014. The last week, the last day, the last hour, the last breath was horrific, I had nightmares for months. Is it a good idea to replay that over and over again in order to bring sadness or rage or guilt or relief to my character? I don't think so. 

The fact is, I am made up of hundreds of thousands of experiences and memories and they fill me. Someone could stroke my face how mum once did and that feeling would rush through my veins like lightning. Because it's always in me, it'll never go away. I don't need to go digging for it, it's all there, available to me, if I let it. 

My priority when I'm training actors is for them to be safe. That's why I love using The Meisner Technique as the basis of my coaching because we're exploring what it feels like to trust ourselves implicitly, to know that emotions never stop moving. That in a single moment sadness can turn to laughter because as an actor you've put your attention away from yourself and you're responding to the person in front of you with all the ease and availability of a child. 

The Meisner Technique teaches you how to work in the moment. Once you discover the power of the moment you'll discover what it really is to be free. Free of expectations. Free of your inner critic. Free of your fear of failure. Free of your fear of judgement. Because as quickly as the moment arises, it's gone and we're into another moment. 

Discovering this technique can also have a profound affect on how you view yourself and the world around you. When I discovered it I was also training in Neuro Linguistic Programming, something I was doing purely because I'm fascinated by the human being. During that time I learnt about me, about how I learn, how I am programmed. The more I learnt about me, the more I learnt about other people. Meisner trains you to see deeper, to listen closer, which in turn, I believe, makes you a better human and therefore a better actor. Surely if you're an attentive and open actor you're going to be far more employable than someone whose ego or fear stops them from being present? 

Statistics from Arts and Minds 2015 research show that one in five people in the arts sector actively sought help for their mental health. There's also evidence that people in this industry experience symptoms of anxiety ten times higher than the general population and depression five times higher. Actors are often expected to expose themselves emotionally, often with little regard for how it affects their mental health. Add this to the overwhelming lack of self worth thanks to the financial insecurity, often poor working conditions and crazy high expectations set by themselves, the critics and the media it's easy to understand why actors are so vulnerable. 

Actors need the strongest of foundations to base their work on so they can live truthfully under their given set of circumstances safely in the rehearsal room, on stage or in front of the camera and then go home at the end of the day leaving work at work. Drama schools owe it to their students to give them the tools to do this. That is why I believe every actor should get a firm grasp of this training. Once they have it, they'll be set for life.

Steph x

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