Professional Actor Training New York NY

A lot of students are interested in coming to my studio and training. One of the biggest things that come up often is this particular problem. I thought I would share with you because you might relate to this. For many actors who have never really seriously trained, they've put their resumes together, got their headshots, and started submitting to backstage and actors access. They're going to the actor's green room, and they're getting in with casting directors. Maybe they start auditioning, and they start booking, maybe under five. Oh, I've got my two lines on law order. I've got a co-star here, a co-star there, and they start building a resume for themselves. They might even end up getting an agent. Maybe they have a particular look, they're engaging in some way right, and they're getting good feedback, right. So they're going in there doing their three or four lines. But they're not trained and what they don't realize at that point is that that kind of work doesn't require much other than everyday reality. So all you have to do is have a sense of truth, be able to talk deliver those two or three lines, and you're going to be okay. Then what happens is they get an opportunity for a more extensive audition. They get called in for a guest spot, a series regular, a recurring role, and all of a sudden, that one page or those two pages turn into ten. Suddenly, it's an actual scene with an emotional line to it where they are starting in a very high place, and they have to live through something. There's homework that has to be done, and they don't know how to do it. So they go into these auditions, and all they have is an everyday reality. They are not creating the screenwriter's behavior into that script. So they don't get the callback. They're not booking a job, and these opportunities that they're getting aren't leading to anything. So then they get the note from a casting director. Maybe it's stood through their agent, or it's given to them in the room. You really should think about training, and they are at this crossroads like what I do now. Do I take a couple of years and commit myself to get serious, or do I keep doing what I'm doing? I will say that from my experience, the actors that keep doing what they're doing and say to themselves I don't have the time to train. They end up quitting and doing something else because they're not booking work, and they're just not able to make anything happen. The actors realize that if I want to be able to carve out a professional career, I have to pick up a piece of material, break it down, and do the homework. That will allow me to illuminate the human condition. To do that consistently when you have that kind of skill set when you get the big auditions when you get those five six seven pages. You know what to do, you know how to break it down, and you can go into that room and really uh show a casting director what you're capable of. So when you get to that point, ask yourself, you know what kind of artist I want to be. What kind of actor do I want to be and if you're going to be working in your 50s or 60s or 70s. If you want a long career, you owe yourself to learn more about professional acting programs. Maggie Flanigan Studio 147 W. 25th St. 5th Floor New York, NY 10001 (917) 789-1599 www.maggieflaniganstudio.com/new-york-ny www.google.com/maps?cid=17904951966372592922 www.youtube.com/channel/UC9vYW3rqJKd9WV6lIl7Je9A www.youtube.com/user/Maggieflaniganstudio twitter.com/MeisnerActing www.instagram.com/meisneracting/ www.pinterest.com/maggieflaniganstudio/ maggieflaniganstudio.tumblr.com/ www.linkedin.com/company/maggie-flanigan-studio www.facebook.com/meisneracting/ www.facebook.com/meisneractingnewyork s3.us-east-2.amazonaws.com/meisneracting10001/index.html maggieflaniganstudio.business.site/ www.pearltrees.com/maggieflaniganstudio www.pressadvantage.com/organization/maggie-flanigan-studio https://flic.kr/p/2n5vXGn

Summer Acting Programs 2021

www.maggieflaniganstudio.com/summer-acting-program/meisne... The Maggie Flanigan Studio announces the Meisner Summer Intensive 2021, which is part of the summer acting program that begins June 14th. Charlie Sandlan discusses the summer program, how the pandemic has changed acting classes at the studio this year and what students can expect from this online acting program. This pandemic has provided us an uninvited breath, an opportunity to process adversity and decide how we choose to come through it. The actors and artists who will be the most successful have embraced a willingness to adapt. We have also adapted and revised our voice and movement training to accommodate the online platform. MFS did not want to sacrifice our commitment to the actor as an artist, including developing your complete instrument. Our summer conservatory program includes voice, movement, nutrition, reiki, self-tape auditions, and theater history. Maggie Flanigan Studio 153 W 27th St #803 New York, New York 10001 (917) 789-1599 www.maggieflaniganstudio.com/new-york-ny www.google.com/maps?cid=17904951966372592922 twitter.com/MeisnerActing www.facebook.com/MeisnerActing/ meisneracting10001.s3.us-east-2.amazonaws.com/index.html maggieflaniganstudio.business.site/ www.pearltrees.com/maggieflaniganstudio https://flic.kr/p/2kUxzaP

First Round Scene - 18 Month Acting Program - Maggie Flanigan Studio

First Round Scene - www.maggieflaniganstudio.com/18-month-acting-program/firs... 18 Month Acting Program - Call Maggie Flanigan Studio (917) 789-1599 youtu.be/E5wc2bPHqaY The 18 month acting program with the Maggie Flanigan Studio is an accelerated two year acting program which begins each January. In this short video Charlie Sandlan discusses the first round scene work that is at the end of the first ten weeks of the program. Chapter 1, which is 10 weeks and 20 classes, it's going to take you up through what are the first round scenes in the first year. The first seven to eight weeks of class, we are going to work on learning how to craft, learning how to work off another human being, sensitizing your instrument, beginning to sort of teach you how to listen to subtext, to respond for how you feel in every moment, getting you comfortable with conflict, and standing up for yourself. When we get you really good with that, when we get Meisner's exercise really popping, what we are going to do, you see what Meisner did in his work, we're going to apply it to scene. Chapter 1 ends with the first round scene. We're going to take everything we did in the first two months, and we are going to apply it to scenes so that you can get a stance of how to improvise your way through a piece of material, how to break out of bad habits, whether that is adjusting to the text, doing line readings, manipulating yourself emotionally in order to fit a line. These are all kind of bad habits that actors really struggle with. We're going to get a sense of how to blow the lid off the conventionality of a scene so that you are finding the authentic, spontaneous way through a piece of material as opposed to something that is cliché, cookie-cutter, and not personal. First Round Scene - 18 Month Acting Program - Maggie Flanigan Studio Learn more about the 18 month acting program, as well as the other acting programs at the studio, by visiting the Maggie Flanigan Studio website. Students who have questions about the application process can call the studio with questions at (917) 789-1599. https://flic.kr/p/2koqaXv

First Round Scene - 18 Month Acting Program - Maggie Flanigan Studio 03

First Round Scene - www.maggieflaniganstudio.com/18-month-acting-program/firs... 18 Month Acting Program - Call Maggie Flanigan Studio (917) 789-1599 chttps://youtu.be/E5wc2bPHqaY The 18 month acting program with the Maggie Flanigan Studio is an accelerated two year acting program which begins each January. In this short video Charlie Sandlan discusses the first round scene work that is at the end of the first ten weeks of the program. Chapter 1, which is 10 weeks and 20 classes, it's going to take you up through what are the first round scenes in the first year. The first seven to eight weeks of class, we are going to work on learning how to craft, learning how to work off another human being, sensitizing your instrument, beginning to sort of teach you how to listen to subtext, to respond for how you feel in every moment, getting you comfortable with conflict, and standing up for yourself. When we get you really good with that, when we get Meisner's exercise really popping, what we are going to do, you see what Meisner did in his work, we're going to apply it to scene. Chapter 1 ends with the first round scene. We're going to take everything we did in the first two months, and we are going to apply it to scenes so that you can get a stance of how to improvise your way through a piece of material, how to break out of bad habits, whether that is adjusting to the text, doing line readings, manipulating yourself emotionally in order to fit a line. These are all kind of bad habits that actors really struggle with. We're going to get a sense of how to blow the lid off the conventionality of a scene so that you are finding the authentic, spontaneous way through a piece of material as opposed to something that is cliché, cookie-cutter, and not personal. First Round Scene - 18 Month Acting Program - Maggie Flanigan Studio Learn more about the 18 month acting program, as well as the other acting programs at the studio, by visiting the Maggie Flanigan Studio website. Students who have questions about the application process can call the studio with questions at (917) 789-1599. https://flic.kr/p/2kohP8y

First Round Scene - 18 Month Acting Program - Maggie Flanigan Studio 04

First Round Scene - www.maggieflaniganstudio.com/18-month-acting-program/firs... 18 Month Acting Program - Call Maggie Flanigan Studio (917) 789-1599 chttps://youtu.be/E5wc2bPHqaY The 18 month acting program with the Maggie Flanigan Studio is an accelerated two year acting program which begins each January. In this short video Charlie Sandlan discusses the first round scene work that is at the end of the first ten weeks of the program. Chapter 1, which is 10 weeks and 20 classes, it's going to take you up through what are the first round scenes in the first year. The first seven to eight weeks of class, we are going to work on learning how to craft, learning how to work off another human being, sensitizing your instrument, beginning to sort of teach you how to listen to subtext, to respond for how you feel in every moment, getting you comfortable with conflict, and standing up for yourself. When we get you really good with that, when we get Meisner's exercise really popping, what we are going to do, you see what Meisner did in his work, we're going to apply it to scene. https://flic.kr/p/2koiphg

First Round Scene - 18 Month Acting Program - Maggie Flanigan Studio 05

First Round Scene - www.maggieflaniganstudio.com/18-month-acting-program/firs... 18 Month Acting Program - Call Maggie Flanigan Studio (917) 789-1599 chttps://youtu.be/E5wc2bPHqaY Chapter 1 ends with the first round scene. We're going to take everything we did in the first two months, and we are going to apply it to scenes so that you can get a stance of how to improvise your way through a piece of material, how to break out of bad habits, whether that is adjusting to the text, doing line readings, manipulating yourself emotionally in order to fit a line. These are all kind of bad habits that actors really struggle with. We're going to get a sense of how to blow the lid off the conventionality of a scene so that you are finding the authentic, spontaneous way through a piece of material as opposed to something that is cliché, cookie-cutter, and not personal. First Round Scene - 18 Month Acting Program - Maggie Flanigan Studio Learn more about the 18 month acting program, as well as the other acting programs at the studio, by visiting the Maggie Flanigan Studio website. Students who have questions about the application process can call the studio with questions at (917) 789-1599. https://flic.kr/p/2kohP8P

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Q: How did the sense of community affect your experience this year in the studio and classes on Zoom? I'd say both experiences in person and online have shown the importance of having an artistic community. I've always been very much of a lone wolf, and I came into Maggie, like I said, pretty emotionally unavailable and very focused on my career path and the only things that I was doing. It took me a couple of months to warm up to the people in my class to open myself up. That's why I came to Maggie. I wanted to be surrounded by other artists, by other people on the path. I found it invaluable to have that energy and not only speaking virtually once we went online, but it also gave me that connection, that life support to my artistic life that I wouldn't have had otherwise. It became super, super important, not only watching my peers work and getting their feedback, but my work being observed by my peers and just growing together. It gives you comfort that you're not alone on this path and that the struggles and the doubts that you're experiencing are similar to your person. Q: What was your experience finishing up the first year online via Zoom and the virtual platform? Yes. The example I always give is a silly one, but if you've ever had to break up with someone and you were like when we were younger, when do I do it via text or call or in person or at least call them. Then we had Skype, and it was like FaceTime, and it was just as freaking scary as seeing them in person. I make the same comparison because we have video, and because I see your face and the contact is, I would say 95% real contact. We don't have the physical spontaneity, and so I've just found the work to translate beautifully to the camera. We're human beings, we adapt, we've gotten used to it, and so much of the industry's work will involve these screens that I completely embraced it. I found that having to do the work by myself was harder, yes, and it challenged me to go deeper. It's making me better because I have to focus more. I have to manage myself better, and I have to go deeper with the work, and I'm thrilled. I'm delighted that I took that on, and I'm looking forward to doing the second year online. Right now, there isn't another option, and that's why I encourage anyone who's on the fence about it you get plugged into this great community. You're getting the training, and it's more or less very equal to what would have been in person, and you can do it from wherever you are. I think it's a blessing. I think it's a blessing, and I speak very highly of it. It's a good experience. Q: Did you feel like Charlie's expectations and standards changed because the classes were online? I think Charlie handled an unprecedented and wildly confusing situation with so much poise and vulnerability and honesty with us and gave us space and empathy when we were transitioning. Once we reestablished, this is the way things will be online, and Charlie was Charlie, and he is holding us accountable for our work, and I wanted that. He's never faltered in his standards with us and continues to push us even harder now because of the extra effort required to work on this platform. To learn more about the two-year acting program and the studio's online acting classes, visit the studio website and contact the studio with any question by calling (917) 789-1599. https://flic.kr/p/2jFqaVK

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Q: Had you ever worked with the Meisner technique before you started training at the studio? I had not. Q: If you could pick one or two things that resonated with you about the Meisner technique, what would those things be? I would say the first and fundamental thing would be working from our imagination and not having to pull from past personal and traumatic experiences, and strengthening our muscles of creativity and how that can also enrich our lives beyond acting. That leads me to the second thing, which I think is embracing your inner child and bringing a childlike wonder and innocence and also fearlessness to work into our lives. Q: What would you say is the biggest thing that you learned about yourself that surprised you during this first year of training? Oh, good question. I was surprised by how deep I was able to go. This work has genuinely saved my emotional life in a way that it's reconnected me with the essence of who I am emotionally, and it's allowed me to reclaim or begin to reclaim my vulnerability and to embrace that. I was surprised and humbled by realizing that the work works. I trusted Charlie and Maggie from day one, and I truly began to transform, and I'm so excited to continue on that journey. Q: Can you talk a little bit about the additional classes? Sure. It felt very holistic and like I was on triple throttle having the movement, especially the voice and the movement classes. I'll even mention the theater history class because it gave context to a lot of the work we were doing, and coming from a non-theater background, it enriched the experience. Voice and movement were going hand in hand with the work we were doing. Charlie would tell us we have to loosen up and open up our instrument and ease the tension. I was so glad to be doing that in the movement class, and not having that with the virtual experience has only highlighted the importance of having that holistic approach. I can't wait to be able to do more of that work again. To learn more about the two-year acting program and the studio's online acting classes, visit the studio website and contact the studio with any question by calling (917) 789-1599. https://flic.kr/p/2jFqaW1

two year acting program belen cusi 02

Q: Belén, before we get into questions about the pandemic and acting classes on Zoom, just a little bit of background about yourself. What did you think it meant to train as an actor before you started studying at Maggie Flanigan Studio? Before I started studying at Maggie Flanigan, I was mostly a commercial actress and model. Mainly all the acting work I was doing was in commercials, and I did that for several years. Any training I had done had been more commercial-based and about looking good in front of the camera, speaking, creating an appearance, or coming off as good as possible. I think I had a notion of, and ultimately is what I found, and what drew me to Maggie was the idea of training more for film, for character work, for more profound behavioral work. My concept evolved once I started thinking about expanding into film acting. Q: How has your idea of training changed after finishing the first year of the two-year program? It has grown, it has expanded, and it has become so much more personal than I thought it would be. I remember Charlie's interview; I said I want to act because I want to live other experiences. I want to be outside of myself and inhabit these different characters and other lives. Charlie said, "Yes, but it's still you." I was running away from myself, and what the training has taught me is that I have to run towards myself to be the actor that I want to be. It has opened me up to transformation on not just an artistic level but a personal level. To learn more about the two-year acting program and the studio's online acting classes, visit the studio website and contact the studio with any question by calling (917) 789-1599. https://flic.kr/p/2jFqaVQ

two year acting program belen cusi 01

The Maggie Flanigan Studio provides a two-year professional actor training program. In this interview, Belen Cusi discusses the decision to train with the studio after working as a commercial actor and model. "I was running away from myself, and what the training has taught me is that I have to run towards myself to be the actor that I want to be. It has opened me up to transformation on not just an artistic level but a personal level." To learn more about the two-year acting program and the studio's online acting classes, visit the studio website and contact the studio with any question by calling (917) 789-1599. https://flic.kr/p/2jFtB5z

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There is an obsessive quality to any successful, serious artist. If you have the desire to attempt a career as an actor, I think its important to discover for yourself whether or not you truly have within you a deep love for the art form, and the willingness to dedicate your working life to mastering the craft. It’s one thing to say to yourself “I want to be an actor”, and quite another to actually figure out what that means. It’s hard to appreciate how hard it is to put together a first rate piece of acting. Great examples of artistry, Adam Driver in Marriage Story, Rene Zellweger in Judy, Joe Pesci in The Irishman, Charlize Theron in Bombshell, or the stage work of Mark Rylance, Cherry Jones, Janet McTeer, or Viola Davis to name just a few extraordinary actors, is truly humbling to anyone who understands the actor’s craft. To see work like theirs is to appreciate how obsessed an artist is with detail. That is artistry, the attention to detail, the meticulous work that goes into breathing life into another human experience, illuminating our humanity in all of it’s aspects. www.maggieflaniganstudio.com/actor-artist/actors-obsessive/ https://flic.kr/p/2jFkZYd

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It’s one thing to say to yourself “I want to be an actor”, and quite another to actually figure out what that means. - Charlie Sandlan www.maggieflaniganstudio.com/actor-artist/actors-obsessive/ https://flic.kr/p/2jFqkKi

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But what do the best actors actually obsess about, and how do you begin to discover what and how to do the same thing if this is the ambition for your life’s work? The students who come to study with me and my teachers want an answer to this question. The low hanging fruit of this profession are the untrained actors who have (usually because of looks or connections) carved out a paid, middling career creating general uninteresting work. They make money, which unfortunately is the cultural benchmark of success. But they aren’t artists. They are the hacks of this business. The best actors are obsessed with craft, with human behavior, with psychology, with the physical and vocal demands that come with true character work, with the truth of the part. They are obsessed with doing justice to the screenwriter or playwrights words, they are obsessed with confronting failure and insecurity, they are obsessed with their physical instrument and how to use it artistically, they are obsessed with their own intellectual curiosity about the world and human experience, they are obsessed with their art. www.maggieflaniganstudio.com/actor-artist/actors-obsessive/ https://flic.kr/p/2jFpqFG

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If you are really interested in acting, I think its important to find someone and somewhere to teach you what the art of acting actually requires from its artists. In order to build an artistic life, your work must rest on the mastery of the fundamentals of the art form. How do you get out of your head and into your heart, how do you learn to truthfully do under imaginary circumstances, how do you emotionally prepare off camera or off stage in order to connect to a previous circumstance, how do you get the attention off of yourself and onto what you are doing or who you are talking to, how do you craft in a personal, specific, and simple way, how do you listen and go from unanticipated moment to unanticipated moment, how do you get comfortable functioning from your rage, joy, grief, heartbreak, jealousy, fear, and shame, how do you rid your body of the tension and pedestrian behavior you have acquired over many decades, how do you get comfortable with conflict and intimacy? That takes serious training, and an obsessive passion to master the fundamentals. www.maggieflaniganstudio.com/actor-artist/actors-obsessive/ https://flic.kr/p/2jFpqEK

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If you aren’t interested in this, or find it unnecessary, then probably acting for you is just a hobby, or something you appreciate but don’t really want to do. And that’s ok. It’s important to come to a real understanding with yourself about what you are up for, about what you want to do with your life, about what will make you happy. Passion cannot be taught. What can be given to you are the things that a great actor should obsess about. What can be given to you is a way to create fully realized human behavior. What can be given to you is a wake up call, a challenge to either step up to a high artistic bar or not. What can be given to you is the space and time to transform yourself into the actor and artist you dream to be. So start with taking yourself seriously, get trained, and discover what makes acting the beautiful, courageous, and noble art that it is. www.maggieflaniganstudio.com/actor-artist/actors-obsessive/ https://flic.kr/p/2jFpqF6

Reiki for Actors | Laura Pensiero | Maggie Flanigan Studio

Laura Pensiero teaches Reiki classes for actors at the Maggie Flanigan Studio. In this video, Laura discusses the problems that actors face when forcing their emotions. Learn more about Laura Pensiero, the acting classes and acting programs at the Maggie Flanigan Studio by visiting our studio website at URL. Prospective students can call the studio during open hours with specific questions about our acting programs and class schedule. www.maggieflaniganstudio.com/acting-classes/reiki-for-act... One of the most significant challenges actors face is accessing their emotions with ease and authenticity. Often, when the actor has a scene that requires an emotional outburst, the initial instinct is to force the emotions. When the actor forces crying or anger, it feels inauthentic to the audience. The reason the actor tries to manipulate emotions into existence is for fear the emotions will not come naturally. This creates a lot of tension and tightness around the emotional life and makes the body look uneasy and uncomfortable. The throat gets strained, the muscles in the face clench and the actor stops breathing. When the actor stops breathing, they completely disconnect from their emotions. The result and what the audience sees is “bad acting.” What the actor needs is to remain relaxed, open and free of physical, emotional and mental tension. It can be confusing and counter-intuitive for the actor to maintain a relaxed body during a heightened emotional scene. It is crucial for the body, and emotional life to be tension free for the acting to be believable and engaging. The work I do with actors helps release tightness and tension in the body and around the emotional life. By using the breath, the actor can move out of their head and into their body. The mind becomes quiet, allowing the body to be more present. The actor connects to their emotional life, their intuition, their creativity and their heart, allowing them to be completely open and feel safe in their body. Through the breath, the actor can release energetic blocks preventing them from utilizing their full range of emotions. I use Reiki, which is a Japanese relaxation technique using energy healing, to put the body into a deeply relaxed state. This turns off the fight or flight response and allows the body to enter the restorative and healing rest and digest state. When the body is deeply relaxed and free of tension, the actor can access their emotions with ease and readiness. This work helps release the fear the actor may have when working on intense emotional scripts. The comfort and freedom of the actor’s emotions make the performance genuine and truthful to the audience and sustainable for the actor take after take or night after night. Maggie Flanigan Studio 153 W 27th St #803 New York, New York 10001 +1 917-789-1599 www.maggieflaniganstudio.com/ goo.gl/maps/oxqqExybwL32 plus.google.com/112291205845820496849 www.maggieflaniganstudio.com/acting-classes/reiki-for-act... https://flic.kr/p/27QRp7U

Reiki for Actors - Laura Pensiero 02 - Maggie Flanigan Studio

Laura Pensiero teaches Reiki classes for actors at the Maggie Flanigan Studio. In this video, Laura discusses the problems that actors face when forcing their emotions. One of the most significant challenges actors face is accessing their emotions with ease and authenticity. Often, when the actor has a scene that requires an emotional outburst, the initial instinct is to force the emotions. When the actor forces crying or anger, it feels inauthentic to the audience. The reason the actor tries to manipulate emotions into existence is for fear the emotions will not come naturally. This creates a lot of tension and tightness around the emotional life and makes the body look uneasy and uncomfortable. The throat gets strained, the muscles in the face clench and the actor stops breathing. When the actor stops breathing, they completely disconnect from their emotions. The result and what the audience sees is “bad acting.” Learn more about Laura Pensiero, the acting classes and acting programs at the Maggie Flanigan Studio by visiting our studio website at URL. Prospective students can call the studio during open hours with specific questions about our acting programs and class schedule. Maggie Flanigan Studio 153 W 27th St #803 New York, New York 10001 +1 917-789-1599 www.maggieflaniganstudio.com/ goo.gl/maps/oxqqExybwL32 plus.google.com/112291205845820496849 https://flic.kr/p/Ntbpqq

Reiki for Actors - Laura Pensiero 03 - Maggie Flanigan Studio

Laura Pensiero teaches Reiki classes for actors at the Maggie Flanigan Studio. In this video, Laura discusses the problems that actors face when forcing their emotions. What the actor needs is to remain relaxed, open and free of physical, emotional and mental tension. It can be confusing and counter-intuitive for the actor to maintain a relaxed body during a heightened emotional scene. It is crucial for the body, and emotional life to be tension free for the acting to be believable and engaging. Learn more about Laura Pensiero, the acting classes and acting programs at the Maggie Flanigan Studio by visiting our studio website at URL. Prospective students can call the studio during open hours with specific questions about our acting programs and class schedule. Maggie Flanigan Studio 153 W 27th St #803 New York, New York 10001 +1 917-789-1599 www.maggieflaniganstudio.com/ goo.gl/maps/oxqqExybwL32 plus.google.com/112291205845820496849 https://flic.kr/p/2aAzYp8

Reiki for Actors - Laura Pensiero 01 - Maggie Flanigan Studio

Laura Pensiero teaches Reiki classes for actors at the Maggie Flanigan Studio. In this video, Laura discusses the problems that actors face when forcing their emotions. The work I do with actors helps release tightness and tension in the body and around the emotional life. By using the breath, the actor can move out of their head and into their body. The mind becomes quiet, allowing the body to be more present. The actor connects to their emotional life, their intuition, their creativity and their heart, allowing them to be completely open and feel safe in their body. Through the breath, the actor can release energetic blocks preventing them from utilizing their full range of emotions. I use Reiki, which is a Japanese relaxation technique using energy healing, to put the body into a deeply relaxed state. This turns off the fight or flight response and allows the body to enter the restorative and healing rest and digest state. When the body is deeply relaxed and free of tension, the actor can access their emotions with ease and readiness. This work helps release the fear the actor may have when working on intense emotional scripts. The comfort and freedom of the actor’s emotions make the performance genuine and truthful to the audience and sustainable for the actor take after take or night after night. Learn more about Laura Pensiero, the acting classes and acting programs at the Maggie Flanigan Studio by visiting our studio website at URL. Prospective students can call the studio during open hours with specific questions about our acting programs and class schedule. Maggie Flanigan Studio 153 W 27th St #803 New York, New York 10001 +1 917-789-1599 www.maggieflaniganstudio.com/ goo.gl/maps/oxqqExybwL32 plus.google.com/112291205845820496849 https://flic.kr/p/2aAzYpZ

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The two year acting program at the Maggie Flanigan Studio provides actors with the foundations they need to have long careers. In this video Jes Tom reflects on the two year program and Meisner training. http://flic.kr/p/LvTNnJ