This thesis maintains that even though the principles of the Meisner Technique are an essential component of building an actor's performance, it does not address all of the actor's needs when doing character work. Using my own performance of Israel Slotin in the California Repertory production of Louis Slotin Sonata in the spring of 2011, I will posit that for extreme character work the actor needs a combination of the Meisner Technique, Michael Chekhov's exercises, research, and human observation. Chapter 1 centers on a description of the Meisner Technique and my history with it. Chapter 2 concentrates on other roads to the character beyond the Meisner Technique. Chapter 3 explains my process of using the above means to address the character of Israel Slotin.
|School:||California State University, Long Beach|
|School Location:||United States -- California|
|Source:||MAI 51/01M(E), Masters Abstracts International|
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