It was really almost magical exploring through the basic Meisner work. I had never experienced anything like it, and at first was afraid of my impulses. I went into this work with a closed mind, thinking I wouldn't like it. However, through our little Meisner adventure, I have learned to embrace both the content of it as well as my impulses. I feel like my letting the repetition exercise into my life has helped me in the studio and in the real world. Of course, the extreme point of view that I am free to express in the studio is not acceptable in all places in my life, I find that I am openly expressing what I am feeling more often. I am also getting better at KNOWING what the impulses that I am sitting on actually are. This is silly, but sometimes in public when speaking to my family or friends, if they say something to me such as "I am upset today." I find myself repeating it back to them, until their behavior changes me to say something else. I don't even catch myself doing it on occasion. It has also happened outside of class with some fellow students in the class, and it makes the exercise even more enjoyable and enlightening.
When reading STOP KISS by Diana Son as well as my scene, I immediately thought of Meisner work. The text is very much like the repetition exercise, which is very exciting. It is very impulsive and I feel is a great step up in the work. I am very very curious AND excited to work with Monica on the scene in public tonight and tomorrow and see how it goes. Perhaps my subconscious experiences with the Meisner work in the recent past has been leading up to the public scene exercise.
I REALLY want to continue in the Meisner work, for forever, all the time. Ha. And I'm pumped for what is to come.
rawr.
Chelsea
MEISNER--
ReplyDeleteI couldn't find the "new post" button. Technology hates me:( That's why I'm commenting on Chelsea's post.
I LOVE the meisner work we've been doing. In his acting exercises, we are not acting. We are being ourselves and responding like we normally would. These exercises draw out REAL responses and make REAL moments. During this work I found myself having the most true and best moments I've ever had! This was because I truly believed what was happening and I was letting things affect me. ESPECIALLY in the knock on the door exercise. I wasn't thinking at all about what will happen or what I should say next.
Meisner knew that an actor couldn't play a role truthfully if they are in their head. In this work we had to be in the moment and really listening to each other.
I learned so much from this work. I can't wait to learn how to channel my instincts into scenes. I think this work is so helpful for our scene.
I am SO excited to start working on these in class.
-Tara :)