About Holly:

Holly Adams has had a long and illustrious career in the performing arts starting with a full scholarship to the San Franciso Ballet at the age of 13 where she immediately began dancing with the company. From there, she danced with the Milwaukee Ballet and then to NYC where she performed in many music videos as well as theater and film productions. She started her acting training and won her first audition, a role in the film "Betaville", a spoof on Jean Luc Godard’s "Alphaville". This film garnered a cult underground following and Holly starred in close to 20 other films while there. She also continued to work in theater Off Broadway and danced professionally with many jazz troupes and in many industrial shows. In 1994, she wrote, directed and starred in her first film which was chosen by the British Film Institute for their Cinema of Transgression Series. Holly, needing a break from show biz and ready for a family life, moved to Albuquerque in 1995. She received her BA in theater at UNM in 1999. After that she had her daughter, Sage in 2000 and has been bitten by the bug again!! Holly has made 4 other films since 2008 and is currently in pre-prduction on her first feature film. "Truthfully connected acting is my passion" says Holly!

The Stanford Meisner Technique:

Growing out of the days with the Group Theatre and the Russian theater theorist Constantin Stanislavsky, Meisner created a series of exercises for actors. For Meisner, acting was about reproducing honest emotional human reactions. He felt the actor’s job was simply to prepare for an experiment that would take place in the scene. The best acting, he believed, was made up of spontaneous responses to the actor’s immediate surroundings. Meisner explained that his approach was designed "to eliminate all intellectuality from the actor’s instrument and to make him a spontaneous responder to where he is, what is happening to him, what is being done to him."

The primary tool Meisner employed in preparing his students was spontaneous repetition. Among his many exercises was one in which two actors looked directly at each other and one would described a feature of the other. After this, the two actors would simply say the phrase back and forth. Because the phrases (such as, "You have soft eyes") came from a physical reality apparent to the actors, the statement retained meaning no matter how often they were repeated. Another example of Meisner’s method has two actors enter a room playing specific roles without specific lines. They begin to speak and the plot is formed out of nothing but the surroundings. The actor’s concern is to remain in character. Techniques such as these allow actors to move beyond the printed script and address the underlying emotional or philosophical themes of a play.

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