Nina Murano
nina murano

the nina murano studio

The Nina Murano Studio Nina Murano Studio for Acting  

Nina Murano teached on camera class





















Meisner Acting Classes

“Acting is the ability to do truthfully under imaginary circumstances.” –Sanford Meisner

The Meisner Acting Technique is traditionally taught in sequential sessions using the unique and ingenious drills created by the innovative Master Teacher, Sanford Meisner. The training program is completed after two ten-month rigorous terms, twice a week … followed by a lifetime of examination. 

Sanford Meisner came out of the American “Group Theater” which existed during the decade between 1931 and1941. Mr. Meisner was a disciple of the teachings of the great Konstantin Stanislavsky, founder of the Moscow Art Theatre. Stanislavsky changed the face of acting as it was in the 19th century – and brought it into the 20th century, transforming it into what is known as “The Stanislavsky System.”
Meisner was the head of the renowned acting program at the Neighborhood Playhouse School of the Theatre from 1944 until his death in 1997 at the age of 91.
Nina Murano ‘s Meisner Training Program: 
Terms are  taught in consecutive  three – four month Sessions
The FIRST YEAR ’term sets the foundation of technique in “the reality of doing.”Via an early exercise called the Repetition word game, learning to listen truthfully from a personal point of view is keyBeing present, moment to moment, connecting, relating and responding while using the other person’s behavior, following one’s impulse.  Elements of the exercise are added on carefully which leads to improvisation. Objects are incorporated, strengthening the imagination and skills of invention, always delving and discovering. Pragmatic and specific application is used to support the text and introductory  “scene–study.”  (Memorization; the Five W’s - Who, What, Why, Where and When; Cold Reading; Point of View; Emotional Preparation; Objective; Relationship). Three sets of scenes, including ‘open’ scenes are covered in the first year. The discipline of the work forms focus and concentration. Stanislavsky’s actor’s faith and public solitude are achieved.  A way of working is learned and thus a craft is secured.  ACTING IS DOING.

The SECOND YEAR term builds upon the foundation of the first year.  The work is altogether different from the first year. The transition moves  into in-depth script analysis. Breaking down a script, learning how to  find the meanings, the sub-text and to  paraphrase the material; all in an imaginative way established from the point of view of the character.The use of Nursery Rhymes is taught primarily to illustrate and illuminatethe text. Focusing on how to make character choices developing one’s ‘creative’ imagination by investigating and analyzing the play’s spine, overall objective, and the character’s super-objective. Most important is determining what is the objective, delineating the beats, playing actions and how to motivate the text, which ultimately leads to ‘building a character’’- inside out.  Conditions and impediments are introduced. Edgar Lee Master’s Spoon River Anthology  introduces specificity in monologue work and characterization. Scene work is extended beyond Realism.

Nina Murano trained with Sanford Meisner at the Neighborhood Playhouse School of the Theatre (1969/1970) and continued her private study with William Esper, (former Head of the BFA/MFA Acting Program, Rutgers University) and Mordecai Lawner (Neighborhood Playhouse; Carnegie Mellon University). Nina is a Theatre Arts alumnus of Fordham University, Lincoln Center College. She has taught advanced acting in the Meisner tradition at the University of the Arts in Philadelphia, under Gene Terruso, former head of the Theatre Department (Conservatory Program.) Nina has been a guest teacher at Northern Illinois University with Kathryn Gately; Professor of the BFA/MFA Meisner Acting program at NIU and the Gately-Poole Studio in NYC. Nina has also guest taught at SUNY New Paltz (Dr. Beverly Brumm, Professor of acting and directing.)   Nina sojourns annually to Los Angeles where she coaches privately and offers on camera classes in collaboration with her longtime colleague, Mary McCusker (an on set and private coach for film and television.) In addition, Nina conducts a “two day intensive workshop - Introduction to Meisner technique ” and  “on camera film and television” preparation for auditions and roles. Nina enjoys the good fortune traveling to Japan to teach ‘Meisner foundation work’, scene study and script analysis at UPS (United Performers Studio Academy) in Tokyo, by invitation via her colleague, the renowned writer/director/producer Yoko Narahashi, and Lyena Yonekura, CEO of “Camino Real” a talent management company.

Nina Murano is an Actor/Singer/Songwriter/Teacher/Coach/Producer. She is a member of SAG; AFTRA; AEA; ASCAP; NYWIFT (New York Women in Film and Television); MACC and past treasurer of SOS (Society of Singers, Inc.) Chapter East – a non-profit organization for “singers in need.”

Nina Murano teaches professional classes following the Meisner tenets at her studio in New York City. The Meisner training consists of eight classes monthly, twice a week. Private Coaching for Television, Film, Theatre, Stage, Musical Auditions & Roles.  Inquire for Interview, Class and Coaching fees. Call:  (646) 220-6142 Cell  |



Nina Murano