Interviews are available for Freehold's 2011-2012 Meisner Progression, a 3 quarter, 9 month training program based on the work of Sanford Meisner. Classes run twice a week, 5 hours a week in the evening over each 12 week quarter. Check out the great testimonials from previous Freehold Meisner alums at the bottom of this blog post. The Meisner Progression is taught by Robin Lynn Smith and more information about Robin can also be found below.
To schedule an interview or for more information, contact Freehold at (206) 323-7499 or email us at our contact page. Please bring a resume detailing your theatrical and performance experience and be prepared to speak about why you are interested in participating in the Meisner progression. Prerequisites: Previous performance background and some acting experience/training. Interviews will be roughly 15 minutes each.
The Meisner class description for the 3 quarter progression is as follows:
Meisner: Foundation: Step I - Fall Quarter
Through cumulative exercises based on the work of Sanford Meisner, the actor learns to be habitually available to and affected by life that is actually happening in the moment, and to fully release instinctive, uninhibited responses. The class culminates in a work with text.
September 18 - December 13
Sundays and Tuesdays, 5:30 - 10:30 pm
$750 Discounted
$860 Full Price
Meisner: Instrument: Step II - Winter Quarter
Students continue the exercises from Foundation, supplementing them with work in personalization, preparation, and other tools in order to access a meaningful inner life and "make real" the text and imaginary circumstances.
Meisner: Text: Step III - Spring Quarter
Applying the work from Foundation and Instrument to scenes, students focus on detailed, in-depth text and character work -- analysis, subtext, particularization, and moment-to-moment process work on scenes.
Robin Lynn Smith is a Founding Partner and Artistic Director for Freehold Theatre Lab Studio in Seattle. She has worked for the past thirty years acting, directing and teaching in Chicago, Boston, Seattle, and New York where she directed where she directed CURSE OF THE STARVING CLASS Off-Broadway at the Promenade Theatre. She has directed in Regional Theatres and is presently directing Freehold’s Engaged Theatre Program which tours Shakespeare productions to prisons, projects, and tent cities, for which she has directed OTHELLO, CYMBELINE, A WINTER’S TALE, THE TEMPEST, and THE MERCHANT OF VENICE. At Freehold she directed the award winning production of Chekhov’s THE SEAGULL, THREE SISTERS, AN ALTERED LIFE, and VERONIKA FALLING. She was an Artist in Residence at the Seattle Repertory Theatre with Dan Sullivan, and directed several productions including MARVIN’S ROOM, FRANKIE AND JOHNNIE IN THE CLAIRE DE LUNE, and CITY OF GOLD, and the developmental workshop of Elizabeth Heffron’s NEW PATAGONIA. She has also directed in Seattle at ACT, On The Boards, The Empty Space, New City Theatre, Seattle Children’s Theatre, and Intiman where she is an Affiliate Artist with Bartlett Sher. She has an MFA from NYU TSOA, and she is currently on the faculty of Cornish College of the Arts. She is featured in ACTING TEACHERS OF AMERICA, and she is a member of SDC. She is the 2008 recipient of The Gregory A. Falls Sustained Achievement Award.
Testimonials from Freehold Meisner Alums
Jon Locke wrote an article detailing his experiences here in one of our Freehold newletters; the other testimonials can be found below.
"Meisner for me was really transformational and not just for the acting but really just for the rest of my everyday life. Meisner really strives you to live in the moment and to react to things as if it is the first time, being genuine and authentic. I do some commercial work on the side and I’ve been told that there is a new quality to my acting and that is 100% related to the work from the class. There is another piece that I got out of Meisner which was unexpected which is that it actually changed the quality of my day to day life … it allowed me to be more present in my life … it makes life much more interesting." - E.J. Gong
My Meisner Progression Experience by Bob Rousseau
I should say that I think calling the class "The Meisner Progression" isn't quite accurate: it really should be called "Meisner and A Whole Bunch of Other Cool Shit Robin Knows". You work through a lot of the exercises and learn the techniques that you would learn in a typical Meisner program, but Robin also brings to the table a whole host of other tools and exercises in areas like movement, meditation, text examination, and preparation, so that you end up with a much meatier experience.
I liken working with Robin to working at a gym with a personal trainer: rarely does anyone push themselves as much as a personal trainer will push them. The trainer's going to make you do those extra sets of push-ups and sit-ups that you might give yourself a pass on, and while you may grouse at times, inside you know that your muscles are getting stronger month by month. Robin pushes you to work your imaginary muscles farther than you ever have - farther than you probably have thought possible - and when it's over, you realize how much stronger those muscles have become, and how much better prepared you are to face the challenges that come your way.
It was through working with Robin that I acquired one of the most important things any actor can get - an actual process on how to bring a role alive. While I've taken other classes from some extremely talented instructors that included some discussion of methods for examining text, the bulk of what I typically got was notes by the instructor as though they were directing me in a play. That is very valuable stuff, but it doesn't really give you much of a process for starting work on a role on your own, nor do you get much of a glimpse of the variety of techniques that have come to light in the theatrical world. Robin gave us tools we could use to bring the character to life in ways that went beyond what was on the printed page, and thereby make those scripted words come even more alive. And I think a huge part of that came from her making us push the limits of our imaginations for nine months.
And about those books about Meisner's techniques - while I now think part of the reason they didn't grab me is that they aren't very well written, to pick up the sports analogy again, you can read a book about playing golf, but actually having someone guide you who really knows what they're doing is going to make you much better at the game and a whole lot quicker. (Now that I've been through the progression at Freehold, I actually recommend you not read the books). And on top of all of that you get from Robin, if you're lucky like I was, you'll go through the progression with a group of actors that also work hard at it so that you feel challenged and inspired to keep up. You inevitably feel closer to those who took the journey with you. There are other talented folks teaching at Freehold who I also look forward to working with in time to focus on areas we didn't have time to cover during the progression with Robin, but I know that my ability to present truthful work grew by leaps and bounds during the past nine months.
To sum up, if you're not sure whether taking the Meisner progression at Freehold is worth your time, let me help you decide: YES! Absolutely! Be grateful that the gods have aligned the planets so that you have this opportunity and grab it!
Freehold Theatre
2222 2nd Avenue, Suite 200
Seattle, WA 98121
(206) 323-7499
No comments:
Post a Comment