The Meisner technique has a clear system of exercises that train the actor from the ground up. The goal is to learn to "live truthfully under imaginary circumstances." Here, we will go over the second exercise in the Meisner technique, called Emotional Preparations. (If you haven’t read about the previous exercises yet, you can do so here: The Repetition Exercise - the first exercise in the Meisner Technique, Independent Activities - the second exercise in the Meisner Technique, and Relationships - the third exercise in the Meisner Technique).
What are Emotional Preparations?
Emotional Preparations are a tool for reaching a specific emotion at the start of a scene, such as sadness, joy, anger, fear, etc. Emotional Preparations are particularly useful when the actor cannot reach the desired emotion solely by reacting to the circumstances of the scene.
The technique is always performed using the actor's imagination. We never use real memories. The advantages of this are:
We can always make up new scenarios that work if an old one stops working.
We are not limited to actual experiences.
We avoid having to re-live traumatic memories from the past.
We avoid physical tension that can arise in actors' bodies when they try to bring up a real memory.
We avoid digging up memories that may no longer mean anything to us.
The human brain is amazing—it can immerse itself in a fantasy and emotionally react as if it were real, even though you know afterward that you just made it up.
How to do the Emotional Preparations exercise
Emotional Preparations involve the actor creating a daydream about something that affects them. The daydream does not need to be shared with anyone else — you can use whatever you want inside of your imagination.
You need to prepare by giving yourself plenty of time to daydream undisturbed in a calm and quiet safe space. When you reach a strong emotion you will usually find an inner image that you can then connect with quickly on the day of filming or rehearsal.
How to build your daydream
Start with a "Point of Reality": Imagine a real person (or something else) from your real life that means a lot to you.
2. a. To reach a negative emotional state, fantasize about situations where:
You have done something bad to that person.
That person has done something bad to you.
Something bad has happened to that person.
b. To reach a positive emotional state, you can use the same template as above, but in reverse. Again, start with a person from your real life and fantasize about scenarios where:
You have done something good for that person.
That person has done something good for you.
Something good has happened to that person.
You can also fantasize about your biggest dreams coming true.
3. Use your imagination: In your daydreams, try to visualize everything as clearly as possible. Think about the place, events, sounds, smells, your feelings, and what you see. Fully engage as many senses as you can. For example, if you imagine that a loved one has been in an accident—where were you when you found out? How did you find out? Did you see the accident yourself or receive a phone call? What did you see? What did you hear? What did you feel? What scents were in the air? What had you done just before? Where were you going?
How to know what to fantasize about
Over time, you will get to know yourself better and understand more about what you are sensitive to.
Events from your real life can influence your emotional triggers, and you can draw inspiration from them, even though, as mentioned, you should never go back to real memories. You can, however, be inspired to create a new daydream here and now that centers around the same theme.
There is often an opposite side to your sensitivity: For example, if you are sensitive to criticism, you are often also sensitive to praise. This makes it easy to find keys to both positive and negative emotions from the same emotional area.
How to use Emotional Preparations when you are on a film set, at rehearsal, or in a performance
The emotional preparation is always done before the camera starts rolling or before you step on stage. Once you are on camera or in front of the audience, you should be in the moment and react to your scene partner, just like in the repetition exercise.
You connect to the inner image you found during your daydreaming at home and then think: "and on top of that, _______ (the circumstances of the scene) has happened." The circumstances of the scene are then woven together with the emotion you have obtained from the emotional preparation, making you fully immersed in the scene.
Assignment for students in the Meisner Technique (Level 1) Course at Elin Hilläng Studios
Daydream in a calm and quiet spafe space until you reach a strong emotional state (follow the instructions under the heading "How to Build Your Daydream").
Since this is the first time you are doing the exercise, you don’t need to decide on a specific emotion in advance, but choose whether you want to work in the positive or negative area, and then let whatever emotion you get to arise. Over time, you will get to know yourself better and will eventually be able to more clearly choose which emotion to find right from the start, but at the beginning you want to give yourself more freedom to avoid getting stuck.
Bring something to do in the room that aligns with your emotion; for example, if you choose a negative emotion, choose something you dislike doing.
Bring an object that makes you feel at home.
In class, you will:
Set up the room so that it feels like your own home.
Step outside and connect with your inner image.
Come back into the room and do the activity you brought that aligns with your emotion (Note: It does not have to be an "independent activity," just something to occupy yourself with in the space).
Note: If something happens that changes your emotion — allow it to change! When you are in front of the camera or are performing on stage, this is just a tool to find the right emotion at the beginning of the scene, after which the flow of events will change how you feel.
One of your classmates may join you and perform the repetition exercise — if so, allow your emotion to change.
This material explains the repetition exercise, but cannot replace training with a skilled Meisner teacher. In order for you to develop your acting in the right direction, you need coaching from a teacher who is used to coaching specifically the Meisner technique, is good at seeing your inner life and can help your craft in the right direction. The exercise looks simple in its design, but there are many nuances within your instrument that surface in the exercise and a skilled Meisner teacher will be able to see exactly what you need to sharpen your instrument further. However, this text can be used as support and memory notes when practicing at home between your Meisner classes.
If you are a Meisner teacher and want to use this text in your teaching, that’s fine, but you must either link to the blog or download the PDF. You may not remove the Elin Hilläng Studios logo, the text about Elin Hilläng Studios or Elin Hilläng's name.
Are you an actor or aspiring actor and want to be trained in Meisner technique? At Elin Hilläng Studios we offer the courses Meisner Technique (Step 1), Meisner Technique (Step 2) and Meisner Technique (Step 3). You'll always work in a small group of a maximum of 6 students to be able to get a lot of individual feedback to give you the best conditions to develop as an actor. Click, below! The classes are taught in Swedish.
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