At EMASLA, we’re determined to empower actors with the fundamental skills that make great actors.
Dante Ryan elaborates on how his training at EMAS helped him to identify and cultivate his emotions.
Brittany shares her unique experience of the Meisner Technique at EMAS.
Katie Bendi finds her emotional truth.
In today’s Meisner Monday video, students practice how to deal with strong tension with their partners.
This video reminds us that generalized emotion cannot be the goal of your crafting. Specificity and a direct understanding of the success or failure of what you are doing is the key. As Sandy always said “The foundation of acting is the reality of doing.”
In this video students have added shared circumstances to the improvisation, where the person entering now has something they need from their partner. Elizabeth shows how important it is not to lose contact with your partner just because you have an objective.
The fifteenth video in our 3 Minute Meisner series, our students are encouraged to express their emote their lines as a genuine reaction to their partner and the scene. This is accomplished only through true vulnerability and openness, skills (qualities) that are honed through training and practice.
October 3rd – December 12, 2018 & January 9th – March 13th 2019
Great actor training focuses on the whole instrument: voice, mind, heart, and body. A strong physical presence is crucial to the professional actor being fully aware and open in terms of physical habits, postures, gestures, body language and voice and sound.
Movement I is designed to develop the actor’s physicality. It will release the constrictions of the actor’s instrument and free the actor’s emotional life; to move away from pedestrian, every day, socialized behavior and to embody a more authentic, expansive, and unbridled expression.
Throughout the twenty-week period, students go through a variety of exercises drawn from the Williamson Technique. They will begin to understand how this technique is the physical component of the acting work they are doing in their Meisner classes. It is a chance for students to immediately move beyond physical constrictions and use the body as a full acting instrument that can interact unimpeded with all the senses, to the world around them and to the other “players’ in that world..
Students will explore where tension is held in the body and how the body responds when it is emotionally alive. Simultaneously, students will be building a sense of grace, flexibility, strength, stamina, and vulnerability. The goal is to effortlessly apply these principles to making clear physical choices in the acting work.
Wednesdays at 7pm
$940 ( Weekly classes over a 20 week period ) 50% deposit required to register.
EMAS is excited to announce our new Conservatory Training Program (CTP).Created to be an affordable alternative to BFA/MFA Acting programs,this option offers actors the ability to develop their actor’s instrument, learn to analyze text as well as acquire their acting craft.The Conservatory Training Program will consist of the following courses:
- Meisner Acting Technique
- Fitzmaurice Voice Work
- Movement for Actors
This is a rare opportunity for student actors to get professional training at a fraction of the cost of a conservatory. We believe that the focused, daily nature of conservatory –style training helps make actors more competitive in the entertainment industry.
CTP will begin in the fall of 2018.
Tuition for the 9-month program is $4800.Payment Plans available.
Admissions are through Interview only.
About The Elizabeth Mestnik Acting Studio
EMAS is a dynamic acting training program for those who want to study the craft of acting in a challenging and inspiring environment. Our reputation is for producing exciting and spontaneous actors with reliable acting technique. That is why The Elizabeth Mestnik Acting Studio is ranked as the top acting program in Los Angeles by CBS and Backstage, among others. our Professional approach, as well as the individualized commitment to each student that has earned us the reputation as on of L.A’s most respected acting schools.
The fourteenth video in the series. Elizabeth talked about how fear and anger are intertwined,and how the delicate and fragile happy emotion would be popped up against. Students tried to perform such conflicts. Acting is not merely showing emotions,however. Watch Elizabeth giving advice right now.
The thirteenth video in a series of 3 minute segments of a Meisner class. The student tried to perform the trickiest emotion:Happy. How to bring the happy emotion to life through the somehow pedestrian actions is challenging.Watch Elizabeth giving advice right now.
There are actually 2 phases of audition preparation. The first is what you do BEFORE you get to the audition and the 2nd is what you do in the waiting room once you are AT the audition.
When Emmy winning Casting director April Webster is asked what tips she has for actors auditioning for her, her first response is “Have your preparation done.” What does that mean? If you don’t know… then you might not be ready to be out there auditioning with the big boys. Get into a class and develop a technique and a process. But if you need a reminder – a process or ritual to follow for each audition – here’s a little checklist:
When you get the script:
- Read the audition sides multiple times.
- Research the show (read the entire script (if film or theater) if possible, watch episodes of the show (if for TV) to understand the tone and genre.
- Make any character choices that are necessary – however, most of the time the character will be pretty close to who you are – that’s why they are bringing you in. .. make sure you honor any physical, vocal or psychological differences to your own natural state. Practice with those from the beginning! (ie: if the character is drunk – rehearse her drunk from the get-go)
- All the basics – where are you, what’s your relationship, where are you emotionally at the top of the scene etc. This is really your opportunity to do a short performance for the Casting Director – I found that thinking of it as a performance helped with nerves.
- Memorize as best you can, and get comfortable auditioning with the script in hand.
- Decide what you are going to wear – make sure it fits, it’s ironed, that you can move in it etc. Do NOT dress as the character but make sure you dress appropriately for the character. For example, do not audition for a prisoner in a tie.
- Find out how to get to the audition (don’t rely only on your GPS the day of – they aren’t always correct), where to park etc…
- Pack easy snacks and plenty of water. Auditions infamously run late – and you want to sustain your energy.
- Pack your script and extra headshots and resumes.
- Schedule something to do right after the audition – so you can move on and not ruminate on what you could have done differently.
At the Audition
- Before you leave your home, make sure you have warmed up physically and vocally.
- DO NOT LOOK AT YOUR PHONE. Once you are in the waiting room – don’t look at it – turn it completely off. Screen time takes you away from being present. There are studies that show that the auditory receptors in the brain start to disengage when all the information is being brought in through the eyes and that it can take up to 30 minutes for your listening abilities to return to normal.
- Don’t change your crafting in the waiting room. This isn’t the time to second guess what you have worked on – it’s the time to commit fully to your choices.
- Don’t “chit chat” with the other actors. Be friendly but stay away from small talk. It may be disruptive to other actors and might hurt your focus.
- Stay loose and be present. Mindfulness is really helpful at these times!
- While waiting, use your imagination to build the world and environment of the scene. Get emotionally available to the triggers of the scene. This is more important than running the lines in your head another 10 times. The CD wants to know that you can act – not that you can memorize.
- If the audition is for something small– treat it as such, stay light, and relaxed – no CD wants to see someone brooding over an audition for a one liner. Just be yourself.
- Smile and show ‘em what you got!
Elizabeth Mestnik is an award winning, actress, director and teacher. Elizabeth founded EMAS to bring her New York style of professional actor training to the west coast. -She received her MFA in Acting from Rutgers University under the tutelage of William Esper, Sandy Meisner’s associate at the Neighborhood Playhouse for over 17 years, and New York’s leading Meisner teacher.