In the book, William Esper, a leading teacher in the modern era, describes and extends Meisner’s famous technique, providing a concrete, clear, and step-by-step approach on how to become a true creative actor. Esper worked closely with Meisner for 17 years and has spent many years developing his renowned program for actor’s training. The outcome is a rigorous system of exercises which builds a firm foundation of acting skills from the ground up, and which is flexible enough to be used in any challenge faced by an actor, from soap operas to Shakespeare. Damon DiMarco, Esper’s co-writer and a former student, spent more than a year observing his mentor as he taught first-year acting students. In the book, he recreates that experience for readers, allowing the audience to see who the progression of exercises works in practice. The text vividly shows that good training does not restrain the instinct of actors – it frees them to build characters with compelling and truthful inner lives.
The book has taught me that although commercial success ought to be commended, it is not worth for self-sacrifice for it. After a while, from audition to audition, one starts making decisions which they think people want to see, irrespective of how inorganic. Nevertheless, like all types of art, one should be devoted in their efforts and pursuits for the skill perfection. I have read several other acting books, yet none is as enthralling as this one. The book covers the first year of Meisner and that comprises repletion work, activities, criminal action problems, and having an objective.
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The book’s format is such that the reader feels they are in the classroom with Esper and the company he teaches. There are characters the reader can easily identify with since they likely know them in real life. Some students are new to the craft, while others have been pursuing art for some time. But for me, the book’s highlights are the beautifully simple but poetic words from Esper, his notes to the class, and his views on how essential it is to live. I was surprised that sometimes I was brought to tears by some of the quotes as they were really cathartic and moving. In particular, one had to do with how disconnected the modern society can be, that with all gadgets, iphone, iPods, and social networking sites, no one lives in the moment any longer.
Esper and DiMarco have written a wonderful book which attacks the myths of what the Meisner technique is capable of doing to a person. It is not about emoting; it is about doing and being. One cannot control how they feel, though they can allow themselves to be affected by what is going on around them. Esper discusses the significance of the precipitating situation: the one event which triggers the two or more individuals on stage to come together in this place, and in this time. Though, before all that, Esper teaches the importance of being yourself, unlearning what the society has taught you, empting the garbage so to speak. Only then can one truly be free to follow their instincts.
I deeply have passion in acting and I always have interest in reading books on the craft acting, learning about various techniques, and looking for ways to enhance my work. Esper’s fictional acting class is very clear and inspiring. The book gets the reader off and running. After reading it, I was able to understand everything regarding the Meisner technique which had appeared so down right illogical and ambiguous before. The book “pinched” me in and off it and has motivated me to try and get back into Meisner training again. Esper’s book is among the best books on skills of active I have ever read. The book is very well written and engaging, with very good content. Overall, this book goes much further in revealing the purposes behind the exercises, and it is truly enlightening. I highly recommend it to directors, actors, or any person who wants insight into the process of acting training.
