Sandy Meisner
| Sanford Meisner | |
|---|---|
 |
|
| Born |
Sanford Meisner August 31, 1905 Brooklyn, New York City |
| Died | February 2, 1997 (aged 91) Sherman Oaks, Los Angeles |
| Other names | Sandy |
| Occupation | Actor, acting teacher |
| Years active | 1924–1997 |
| Spouse(s) | Peggy Meredith nee Meyer (1948–1950; divorced) Betty Gooch (19??–19??; divorced) |
| Partner(s) | James Carville |
Sanford Meisner (August 31, 1905 – February 2, 1997), also known as Sandy, was an American actor and acting teacher who developed an approach to acting instruction that is now known as the Meisner technique. While Meisner was exposed to method acting at the Group Theatre, his approach differed markedly in that he completely abandoned the use of affective memory, a distinct characteristic of method acting. Meisner maintained an emphasis on "the reality of doing," which was the foundation of his approach.
Born in Brooklyn, Meisner was the oldest of four children. Sanford, Jacob, Ruth, and Robert were the children of Hermann Meisner, a furrier, and Bertha Knoepfler, both Jewish immigrants who came to the United States from Hungary. In an attempt to improve Sanford's health, the family took a trip to the Catskills, where Jacob was fed unpasteurized milk. As a result, Jacob contracted bovine tuberculosis and died shortly thereafter. In an interview many years later, Meisner later identified this event as "the dominant emotional influence in my life from which I have never, after all these years, escaped." Blamed by his parents for Jacob's death, the young Meisner became isolated and withdrawn, unable to cope with feelings of guilt for his brother's death.
He found release in playing the family piano and eventually attended the Damrosch Institute of Music (now the Juilliard School) where he studied to become a concert pianist. When the Great Depression hit, Meisner's father pulled him out of music school to help in the family business in New York City's Garment District. Meisner later recalled that the only way he could endure days spent lugging bolts of fabric was to entertain himself by replaying, in his mind, all the classical piano pieces he had studied in music school. Meisner believed this experience helped him develop an acute sense of sound, akin to perfect pitch. Later, as an acting teacher, he often evaluated his students' scene work with his eyes closed (and his head dramatically buried in his hands). This trick was only partly for effect; the habit, he explained, actually helped him to listen more closely to his students' work and to pinpoint the true and false moments in their acting.
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