Even in my own acting training, it was never lost on me that the Meisner Technique, for all its incredible value, didn’t address movement, or physicality, or physical instincts. So a number of years ago I developed my own Meisner to Movement exercises. I had studied some Le Coq and Michael Chekhov as well as Viewpoints, but Meisner is so intimate, so about learning to feel the other actor–not decide to respond, but to not being able to stop yourself. I wanted exercises that helped actors find that physically. I didn’t know how passionate I would become about this side of acting training, or how much it would help my students.
I just finished teaching an auditioning class for film, and it brought to the foreground the necessity of being energetically alive even when you are perfectly still. If your body isn’t moving, can it still be responding? Think Liev Shreiber in Ray Donovan. He says nothing. He doesn’t move. And you don’t want to look at anyone else. Energetically, his body lives in response. His inner life is amazing. And so it goes, finding that training is revelatory, that watching actors in search of truth is revelatory and absurd and dramatic and wonderful.