I have just been re-introduced to Stanford Meisner and his acting teaching, and I must say that I have fallen in love with his approach. Watching him work with actors is so inspiring that it is hard to say exactly what it does to me. But it reaffirms me, the way the theatre reaffirms mankind. God, it is glorious!
Of all the "old" ways of acting, Meisner leaps decades forward into the 21st Century, into the most modern of approaches to acting. Wm. Esper’s teaching is the best Meisner based approach. The Esper Studio is the only “Stanislavsky” based studio in NYC that I recommend.
I never was a fan of Stanislavsky or ways to approach acting based on his work. It was all too complex and seemed to me to be antithetic to acting which I always thought was supposed to be playing and fun. Then, I was taught that acting was "reacting" about thirty-five years ago when I was taking professional classes and acting in films. Pretty much I based my acting on “just do it”. You create the physical character and then you do the role. No fuss, no muss, no Stanislavsky, no method, no agony. Just fun. I didn’t need acting classes either. Had a couple in undergraduate school in the 1950’s. Then, when I started film acting in the mid 1970’s I took a one evening media acting workshop and a once a week, twelve week media acting class. These classes emphasized keeping things simple. More importantly they taught ‘don’t act, react” obviously an axiom from Meisner who was against acting and pretending and was for honest, unrestrained, uninhibited emotional response. He said to act from the gut, not from the head. In other words use your gut responses, don’t try to think it out or plan it out.
The real difference between the "old" Stanislavsky based approaches and today's techniques is that the old ways teach acting which often is pre-planned behavior rather than spontaneous reaction, and today's most modern approaches are non-acting. Read books such as Harold Guskin's '"How to Stop Acting" and Eric Morris's "No Acting Please" (which seems to have started the new era of acting way back in 1979) and Don Richardson’s “Acting Without Agony” (which exposes The Method as a fraud) and Tony Barr’s “Acting for the Camera” to learn more how modern acting has changed from most of the old ways, but read Meisner as well and discover that he was the well-spring from which these approaches were born.
For a bit more information go to my website under Acting Theory and read Modern Times Need Modern Methods and Tao and the Art of Acting. I also discuss the non-acting approach to playing a role in my book The Tao of Acting. Read in my blog the posts on reacting. You will find that my ideas are the mainstream of today's acting which started with Meisner’s ‘being in the moment’ and ‘react, don’t act.’
We have to give credit to Stanislavsky and to The Group Theatre for Meisner, but it is interesting how he leapt so far ahead of Adler, Strasburg, Hagan and others who came from the Group. These teachers’ techniques still maintain themselves in places such as NYC, London, and LA-- places with traditional thinking which accept reputations these approaches gained over half a century ago. Chubbick,
which is the 21st Century reincarnation of Stanislavsky, somehow has gained a strong following in LA. But it is the same old agony that most actors are exposed to in many ways of approaching their craft as they prepare for professional work. Most actors take a bit of technique from here and a bit from there and work out their own way of being effective when performing. Nowadays that includes dropping most of the old fashioned techniques and just playing without acting and dropping all the bother of the Stanislavsky based approaches except for Meisner.
I urge you to watch the seven-part youtube series on Meisner’s teaching at http://www.youtube.com/watch?v=zNuFSrsYfpM It should blow you away.