
somatic TOOLS
THE BUILDING BLOCKS OF A unified, brain-body approach to acting for stage and screen.
what are the tools?
An integration of Meisner and Michael Chekhov techniques with vocal and physical training inspired by Fitzmaurice Voice Work, Feldenkrais Method, and countless other mind/body unifying practices.
why put them together?
Meisner demands honesty. It brings actors into themselves.
Chekhov invites transformation. It offers a roadmap into the given circumstances and expands the actor beyond the self.
Voice & body work prepares the actor’s instrument to be responsive to impulses in the moment and expands range.
Combined, these techniques arm an actor with a toolkit to thrive.
What is meisner Technique?
Meisner teaches actors to “not act.”
Grounded in the “reality of doing,” it trains actors to listen and respond with authentic impulses. It invites primal instinct and emotion to flow freely.
If you’ve studied Meisner before, this might be different. Come prepared to meet the technique for the first time.
What is Chekhov Technique?
Michael Chekhov technique harnesses the intricate relationship between mind and body in acting.
It activates the actor’s imagination through specific physical systems. The work is a profound tool for actors to enter characters and circumstances vastly different from their lived experience.
Voice & Body Work
Voice & body work releases inhibiting physical tension, increasing breath capacity, and strengthens the mind/body connection, helping actors’ to maximize: emotional access, expressive range and receptivity to partners.
Just as a violinist has scales or a ballet dancer has the barre, this work gives actors practical tools to train in-between jobs and to warm up before a show or a difficult scene.
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A combination of exercises inspired by Fitzmaurice Voice Work, Gabrielle Roth’s 5Rthms, Viewpoints, and other physical theater artists Ellie had the privilege to work with over the years.
It’s all about release.
It has nothing to do with fitness or dance and can be adapted to suit different physical abilities.
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Sanford Meisner, born in 1905, was an influential American acting teacher and actor who drew inspiration from the teachings of Stanislavski, the father of modern acting. Meisner crafted his technique as a response to the imperative he found in Stanislavski's work – the necessity for actors to establish a profound connections between their character and their fellow actors. He firmly believed that the essence of authentic acting lay in the commitment to living truthfully within the imagined world.
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While repetition is a fundamental part of the training, it's just one component. The technique involves other exercises and principles aimed at deepening emotional connections, imagination, and truthful reactions.
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Michael Chekhov, born in 1891 in Russia and nephew of Anton Chekhov, studied, performed, and taught at the Moscow Art Theater where Stanislavsky proclaimed him his “most brilliant student.”
Chekhov created his technique because he believed Stanislavski's system was too rigid and intellectual. He thought actors needed a flexible, embodied system in order to access inspired emotions and imagination. Chekhov's technique emphasizes a psychophysical approach, blending the mind and body to create emotionally truthful and imaginative acting.
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Jim Carrey, Timothee Chalamet, Aaron Eckhart, Tina Fey, James Franco, Jeff Goldblum, Ashley Judd, Diane Keaton, Allison Janney, Philip Seymour Hoffman, Sandra Bullock, William H. Macy, Tatiana Maslany, Tracee Ellis Ross, Naomi Watts
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Ingrid Bergman, John Cleese, Johnny Depp, Anthony Hopkins, Diane Lane, Melanie Griffith, Marilyn Monroe, Jack Nicholson, Anthony Quinn
Ellie is grateful to have worked with these artists who influenced the work:
Anne Bogart (SITI COMPANY), Tina Landau (Steppenwolf), Amy Morton (Steppenwolf),
Paula Langton (Linklater Master Teacher, Boston University),
Joanna Merlin (Studied w/ Michael Chekhov & founded MICHA
NYU ), Bethany Caputo (Michael Chekhov Master Teacher), Ragnar Freidank (Michael Chekhov Master Teacher),
Craig Mathers (Michael Chekov Master Teacher, Emerson), Kim Rubinstein (UCSD),
Jon Lipsky (pioneered “Acting through Imagery”), Leslie Buxbaum-Danzig & Adrian Danzig (500 Clown),
Annie-B Parson (Big Dance Theater), Betsy Polatin (Alexander
Technique), Roger Smart (Fitzmaurice Voice Work), Suzanne Thompson (Feldenkrais Method),
Dexter Bullard (Plasticene Physical Theater), Lenard Petit (Michael Chekhov Acting Studio),
Bud Beyer (mime in the tradition of Decroux, Northwestern University)
and Judith Chaffee (Head of Movement at Boston University).