Le Studio AZOT

Stage Meisner et Chekhov Studio Azot

If you have learned how to act... Come and learn how not to act

The AZOT studio is a place of research and improvement for actors, directors and anyone wishing to develop creative abilities and the use of their imagination in a concrete way through the in-depth practice of dramatic art. The studio's training courses are mainly aimed at professional actors who are already working or in the process of becoming professional, or at anyone who wishes to use the tools of theatre in the exercise of their profession.


Studio AZOT focuses its research on authenticity. We are deeply convinced that it is the key to being alive and accessing one's own inner resources despite the fears that can tug at the "human being-actor". After a long search, the Michael Chekhov method and the Meisner method that we teach, seemed to us to best meet this requirement. They allow, each in its own way, to respond to the quest of many of us: a deep desire for full, spontaneous and authentic expression.


Studio AZOT  was born out of the desire to offer actors concrete tools to help them find their way in a field where there is often a lot of confusion and randomness, and to provide them with a complete toolbox to meet all the requirements of their profession. What both techniques have in common is an exceptional understanding of how people work and an insightful way of accessing their own way of working. One literally learns to play one's instrument, as each actor is unique. The Meisner and Michael Chekhov methods approach acting from a different and complementary point of view, and through their combination, reinforce and support each other.

Several cycles are possible, a commitment from October to June for long-term work, an intensive integration of the training during the second session in January for professional actors wishing to combine training and professional commitment over the year.


Sanford Meisner was an American actor and theatre teacher who developed a method of acting now known as the Meisner Technique. Along with Lee Strasberg and Stella Adler, he was one of the most important teachers of acting technique in the 20th century, after Constantin Stanislavski.

Sanford Meisner decided to go his own way after the explosion of the "Studio Group" of which he was a member with Lee Strasberg and Stella Adler. He felt that the Actors Studio techniques taught by Lee Strasberg were not suitable for actors who were already very introverted by nature and needed exercises that would allow them to be less in control, less in control of themselves. Lee Strasberg took the sensory and emotional recall techniques based on the early work of Constantine Stanislavski to the extreme, which Stanislavski himself abandoned at the end of his research, believing that these exercises were dangerous and could lead actors into hysteria. Thus, at the Neighborhood Playhouse in New York, Sanford Meisner developed a number of exercises that took into account the evolution of Stanislavski's work and were inspired by psychological concepts, aimed at increasing the actor's ability to be authentic and to connect with his partner.

Sanford Meisner, having practised the piano, considered that, like a pianist, the actor, before acting, had to do his scales to refine his dexterity. He thus constructed his method as a set of scales to make the actor work on all the aspects necessary for him to "live for real in imaginary circumstances".



Michael Chekhov was considered by Stanislavski to be one of his most brilliant students. In addition to having contributed to the expansion of Stanislavski's method throughout the world, Michael Chekhov has also transformed it thanks to his profound knowledge of Anglo-Saxon theatrical forms and the psychophysical functioning of the human being, taking it further and bringing out its quintessence.


He proposes a clever mix of bodily techniques and non-intellectualised, but deeply organic imagination. Stanislavski drew on this to develop his approach to physical action.

Many great American actors were trained or inspired by him.

Among them: Anthony Quinn, Jack Nicholson, Yul Brynner, Joanna Merlin, Marilyn Monroe, Ingrid Bergman, Anthony Hopkins, Clint Eastwood, Mala Powers Jack Palance, Beatrice Straight, Deirdre Hurst du Prey, Gregory Peck and many others.


Deep within ourselves are buried tremendous creative powers and abilities. But they remain unused so long as we do not know about them, so long as we deny them.

Michael  Chekhov