Prior to beginning my graduate career in Fall 2006, I had studied The Meisner Technique at The Neighborhood Playhouse, an acting conservatory where Sanford Meisner taught until his death in 1997. The Meisner technique defines the foundation of acting as “the reality of doing.” Actors are trained to listen, respond “in the moment” and to communicate not only the words of the script, but the action of the text. It was this training that I relied on to create my first thesis role – Darlene in The Diviners.
In the course of my graduate training, I had the opportunity to learn the Michael Chekhov technique. Though both the Michael Chekhov and Meisner techniques derived from Constantin Stanislavski’s System, the Michael Chekhov technique includes several unique components such as Psychological Gesture, Qualities of Movement and Archetype. In my final thesis role – Grusha in The Caucasian Chalk Circle – I was able to implement these concepts into my work.
Between The Diviners and The Caucasian Chalk Circle, I undertook my second thesis role – Helene in Sweet Charity. I did not yet have the Chekhov training to apply, so my process in working on this role was similar to the first thesis role. However, Sweet Charity presented special challenges that arose from the demands of the style – musical theatre – and from my own insecurities. My discussion of this role rests largely on the process by which I overcame these challenges.
I will discuss the process of creating each of the three thesis roles and, in doing so, will document the evolution of my acting technique including the application of vocal and physical training.