James Price – Acting Masterclass
Meisner Acting Technique – Rome 6-12 april 2018
James Price (Intro To Meisner, Meisner Technique 1 & 2, Scene Study) is the founding Director of The Acting Studio – New York and Chelsea Repertory Company in New York City where he currently teaches. Mr. Price majored in theatre at Indiana University (1969-72) and worked as a professional AEA actor before attending and graduating from the Neighborhood Playhouse School of the Theater (1976), to where he later returned as a member of the teaching staff under the tutelage of legendary master instructor Sanford Meisner. Mr. Price is grateful for his 15-year relationship with Mr. Meisner as his protege and personal friend.
Mr. Price has also taught acting at Trinity Rep Conservatory in Providence, RI, and in New York City at NY Film Academy and T. Schreiber Studio. He has worked as actor, director, teacher, and producer in regional, Off-Off Broadway, stock and college theatres. A task-master with 49 years of experience, he continues to actively train and practice with his fellow Studio associates in conjunction with Chelsea Repertory Company where he actively produces, acts and directs.
Mr. Price was senior Meisner instructor at the New York Film Academy from 2003-2013. He is featured in several books on acting, among themStagecraft by Robert Blumenfeld, Legitimate Acting Coaches in New York by Larry Silverberg, and Acting Professionally by James Manos. He is currently re-entering the acting profession in conjunction with his teaching, coaching and producing duties. He has recently appeared in principal roles in a number of films, most recently Broken Badges slated for June 2017 NYC premiere
The Meisner technique is an approach to acting which was developed by the American theatre practitioner Sanford Meisner.
The focus of the Meisner approach is for the actor to “get out of their head”, such that the actor is behaving instinctively to the surrounding environment. To this end, some exercises for the Meisner technique are rooted in repetition so that the words are deemed insignificant compared to the underlying emotion. In the Meisner technique, there is a greater focus on the other actor as opposed to one’s internal thoughts or feelings associated to the prescribed character.
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