If you are not excited, energized or inspired by an instructor by the end of class, you need to leave that class. Acting is not drudgery, it is not only “for the gifted”, and it should not be difficult. It can be and incredible emotional experience, and must be challenging and applicable to your everyday life.
After twenty-five years of working in theater, film, television, commercials, and voiceover, our Lead Instructor has seen it all. He has studied with Milton Katselas, Jeffrey Tambor, and Ivana Chubbuck; some of the best, but his job is not to teach you exactly what he was taught – we leave that to the people without first-hand experience on a set, whose only option is to parrot what they were taught.
Our Instructor has more time on-camera than most typical teachers combined, and it is this experiences that we teach to you, what works in the real world, and what achieves practical results.
There is no sharp, cutting criticism or arbitrary “right and wrong” in this class. Us actors get enough of that in the “real” world as it is.
Our love for actors is profound. The courage it takes to be “private in public,” to make someone forget their cares for one or two hours as they live vicariously through your work is something to be nurtured. The artist is vital to a culture. It is a higher calling; we create new realities.
You communicate what others can’t. You can make others feel, understand, and see things in a different light. You as an artist are important and must never be devalued, and we bring you to your full potential.
Our philosophy is simple. Here it is as put by a great of the past, as we cannot say it better:
“I saw an angel in the marble and carved until I set him free.”
We hope to have the privilege of teaching and learning with you.
Our “core” begins in monologue work, powerful in that it enables the actor to be independent from the performance, personality or habits of any other actor. Monologues forces the actor to know the character and to be fully immersed in it.
The character, then, is responsible for its own behavior in spite of whatever may be thrown at the actor. Such as in an audition where there is no “scene partner,” or when the actor walks onto a set and is working for the first time with the other actors there. He or she will be expected to “lay it down quickly.” Thus, private character study is very important.
From there, scene study will be varied and students will work with material outside of their “comfort zone.” This is to enhance the actor’s ability to handle any scene with any other actors, as one must avoid a dependency on the behavior and feelings of other actors in order to perform. If you are truly “in character,” you will feel and act accordingly. Of course, “listening” is key, but one must be listening entirely in character.
This is an ongoing class with a monthly tuition that meets two nights a week. It is ongoing because fully capable actors are not uncovered in an instant, they develop over time and with practice; it is a muscle. In LA and New York, agents and casting directors will always ask (in spite of your resume) who you are studying with presently. They want to know that you are busy, practicing, refining and learning. That is what the professional does.
Our Instructor studied alongside some very well-established actors when he was in LA; actors you’d think had “arrived.” But there they were, in class, and it showed in their performances. It will no doubt be emotional, it will be hard work, and it will be great fun.