RICHARD PINTER NEIGHBORHOOD PLAYHOUSE SCHOOL OF THE THEATRE the original Meisner... https://youtube/watch?v=PdYaa6fru8I In regards to the work, it is well known that Sandys work is bastardized and in keeping with the principles engrained in me, by him, in his last year of teaching, in NYC and the deep respect for Richard Pinters instruction, I want to do a check and balance, with my understanding of 2 points, as a Teacher of Meisner. The Emotional Preparation The Preparation as I understand it, is the Emotional Reservoir that you enter Stage with, or Knock On the Door with. It is the fuel to begin and perhaps carry the Repetition, Improvisation, Scene forward. Yet only to the extent that, for example: You have won the Lottery and come home to announce the good fortune to your Partner, you open the door, enter the dwelling full of Joy, Elation, only to discover your partner on the floor, writhing in a seizure. This Elation, the Emotional Preparation, will now be altered, effected by the discovery of your ailing Partner. So therefore you do not hold onto the Emotion, instead you work off the given circumstances, your partner, and allow those emotions to transform moment to moment. If you discover the Partner to be okay, after attending to them, then indeed, the initial Emotional Preparation may indeed, return, be played out, however, perhaps altered to a degree, by the previous interaction and circumstances. OR You enter the Situation and your Emotional Preparation stays within you, and is effected Moment to Moment by your Partners Behavior, perhaps leading to your announcement of victory or being effected by your Partners behavior, to the degree that you no longer wish to share the Victory, based on how they are treating you. So in short, the Emotional Preparation is not something you fiercely hold onto, but instead, it is the fuel that burns as your foundation within the Given Circumstances, willing to be altered, changed, swayed by what you get from your partner and their Circumstances or revealed in a much bigger state based on their Behavior towards you.. Am I on the right track here? Knock On the Door The Participant doing the Independent Activities, first Moment, is the Knock they hear, emotionally taking in what type of Knock, aggressive, silent, weak, agitated, hurried, is, and therefore deciding, based on their Instinctive Impulse, to either answer the door or refuse to answer the door and therefore go forth with the Repetition, Improvisation or Scene, based on this Impulse If they choose to answer the door, then their first moment is based on the emotional opinion they have, of the type of Knock and they should then Repeat out of that Moment. Based on this exchange they will either decide to allow the Participant who knocked on the Door, to enter or not, and thus the ensuing interaction will be based on this exchange and proceed moment to moment, out of this exchange, resulting in an entry of the Participant or a closed door action towards the Participant. If the Participant refuse to leave or stops the door from the Closing, the exchange now proceeds and builds from this moment. Does this Interpretation seem to be accurate. Look your 1st idea is pretty accurate. The 2nd one is more complicated. Something that needs to be actually talked about. But I would say in general to always go back to: respond ( act) to what is actually going on. Imaginary circumstances only guide how these circumstances are seen. So what the Actor does depends on what is happening. Moment to moment working off of the other actors and the specific circumstances! That is always it. Over and over again. Keep the actor alive and grounded in what is actually going on!! I wish you well. Our job is more difficult than it would appear!! We do what we can. Ok. Pinter
Posted on: Wed, 26 Nov 2014 13:11:24 +0000
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