Meisner Technique – Theatre Workshop with Peter Mustafa
Saturday 9 and Sunday 10 June
10am to 6pm (Lunch break 1pm-2.30)
Maximum Capacity 10 people
Please register by emailing YW1hbGdhbSAhIGRjdCB8IGdtYWlsICEgY29t
Meisner´s proposal was to let actors work in partnership all times, guiding them to respond as sensitively as possible to the partner´s behavior.
Acting means to act and to react, if we seriously play real people and not play actors. Real people act and react, but they (mostly) don´t play.
Meisner used to say: “What happens to you doesn´t depend on you, it depends on the other fellow.“
When you are always thinking of yourself, conscious of yourself, trying to get a particular result in your acting, you could become stiff, clumsy and unhappy while acting.
Putting the attention elsewhere, (for example on the partner) you become free of many unnecessary anxieties and can concentrate on the action of the play. This sets up a much more truthful dynamic between actors. It also means that emotion becomes a side effect, just as in life, flowing out of the unfolding events and for the actor this comes as great relief.
There is clear common ground between all the stands of acting techniques, if you look at how certain exercises are designed to help the actor. Stella Adler and Michael Chekhov´s work are much the closest in spirit to Meisner´s.
Meisner wasn´t trying to create a new acting technique in the Fifties. He was working in the drama school “The Neighbourhood Playhouse” and all his students were studying at the same time with each other teachers. He wasn´t even teaching the “Meisner Technique”. Only from around the early Fifties did his
ideas emerge as exercises in the form we see today which still is one of the most studied techniques in New York at “The Neighbourhood Playhouse”. Also in Germany more and more actors are practicing the technique since it is a simple and very playful one, which generates easiness and fun.
Many directors, some without knowing it, are desperate to work with actors who can bring brave and unexpected choices to their work. Of course in TV and film work, rehearsal is hardly an issue, except for the technicians and camera operators! So an actor needs to be able to make powerful creative choices with a minimum of external guidance and really trust his/her instincts.
Meisner would argue that the actor should throw him or herself into the central action of the play and let the moment be discovered freshly each time.
TOGETHER with the partner.
Acting means to act AND react, if we seriously play real people and not play actors.
Real people act and react and they (mostly) don´t play.
Peter M. Mustafa is working as an actor and director, since 1987.
And as a personal acting coach for 25 years.
He studied acting/directing at a German University, Hannover.
He was also working as a radio presenter in comercials.
in Aachen, Lünen, Dortmund, Hamburg, Stuttgart, Neuss, Cologne, Hannover.
Also he worked for TV as an actor many years.
in several productions.
in Aachen, Dortmund, Hannover, Cologne, Stuttgart, Bonn.
12 years he had a lectureship at the well-known Acting University FOLKWANG, Essen.
Since 20 years he is a personal acting coach.
In 2012 he worked one year as a Set Coach for a famous TV Show - ALLES WAS ZÄHLT
He studied and teaches the Lee Strasberg Method, that he studied with Geraldin Baron, who was Mr. Strasberg’s assistant for 12 years.
He studied with Mike Bernardin the Sanford Meisner Technik,
and with Keith Johnston the Keith Johnston Improvisation technique
In 2015 he has settled in San Marcos, Guatemala, till April 2017,
to immerse in the TAO monastery his T`AI CHI practice. (2000 Hours)
Scholarhsip in Los Angeles-Screen Writing
Geraldin Baron (Strasberg/Method)
Keith Johnston (Improvisation)
Michael Bernardin (Sanford Meisner Technic)
Mark Travis (Camera Acting)
Keith Cunningham (Script workshops)
Painting by Ayman Baalbaki