FIRST-YEAR CURRICULUM

Training the acting instrument is the first goal in year one. The Meisner technique, voice and text, movement and improvisation introduce you to the road of discovery of one’s self as an artist. Next, you begin to explore the technical aspects of working in front of a camera and have the opportunity to learn the information necessary for an actor to function with professionalism on a set.

You also begin to work on your craft. You start to explore the given circumstances of a scene and how to own them in an authentic way, taking what the writer has given you and learning how to make those circumstances your truth.

THE127

Meisner Technique I

In this course, we apply the principles of the work of Sanford Meisner to achieve spontaneous behavior in one's acting: repitition exercises, living truthfully under imaginary circumstances, in-dependent activity, knocking exercise. The teacher guides the students in applying the principles of repitition to imaginary circumstances and uses this technique for exploring text: emotional preparation, application to text, pre-circumstances, cold reading, beginning scene work with specific emphasis on relationships, activity and preparation.

THE137

Meisner Technique II

In this course, we apply, through heightened awareness, the principles of emotional preparation to specific text work. Exploring text, preparation techniques, personal invention, focus on believable behavior in order to achieve spontaneity and honesty in sharing. Maintaining the integrity of the text, interpret material and act the moments as they are written, memorize and interpret speeches as well as perform a fully interpreted score.

THE122

Voice and Speech I

An exploration of basic vocal technique for the actor, which includes breath work, relaxation techniques, resonance, pitch, tempo and volume, with the goal of increasing an actor’s ability to fully express the truth of the text and the emotional integrity of the character and situation, while striving for vocal variety and expressiveness.

THE123

Improvisation

Improv trains actors to think on their feet. In this class, students work on spontaneity, listening, making and committing to choices and working cooperatively. Through improvisational solo work, two-person exercises and group scenes, students relate each new skill to the varied demands of working in film and television.

THE125

Film Genres and History

Students develop critical skills for recognizing film styles and genres by viewing, researching and discussing specific films. This rigorous examination informs the film actor’s work. In this class students study the history of film, studios and their influence, non-actors versus actors, film versus theatre, and shot as narrative versus editing and narrative objective. A series of research re-ports culminate in a longer research paper as part of this course.

THE126

Introduction to the Camera for Actors

Learn the technical aspects and differences of working on a single camera and a multi-camera set; everything from hitting marks to adjusting to different camera angles; from who to listen to and take direction from to having an understanding of the on-set jobs that are important to the actor. Learn all the terminology of working in film and television; what is professional behavior on a set; and what is the actor’s responsibility. The class is taught from the actor’s point of view.

THE129

Movement for Actors I

The class explores a series of subtle exercises developed to give the student an understanding of physical awareness and impulses in a non-judgmental and non-product-oriented atmosphere. The exercises are meant to physically complement the work performed in the Meisner class. The class also includes instruction in a series of popular dance styles most likely to occur during the course of an actor’s career, such as the waltz and contemporary and period styles.

THE132

Voice and Speech II

A continuation of work on vocal flexibility begins with an introduction to microphone technique and cold-reading skills. Work continues with the exploration of Shakespearean texts for heightened language skills, full breath support and dynamic energy. The intensity of Shakespeare’s plays allows for an opportunity to diagnose and correct any vocal problems that may arise during heightened emotionality. The text also requires moments of simplicity, relaxation and minimalism, with a precision of body, face and gesture work to complement the language.

THE139

Movement for Actors II

Building on the fundamental relaxation and dance techniques previously learned, students study physical impediments and emotional releases, along with standard film, television and theatre choreography. The work introduces young actors to observation and imagination exercises, de-signed to help them integrate their bodies and minds. Students become more self-aware by learning how body use affects the way they function and how they respond to physical, vocal and emotional stimuli.

THE141

Actor’s Lab I

Through the exploration of exercises based on the work of such people as Stanislavski and Hagen, students begin to explore the facets of the craft that allow actors to immerse themselves and take ownership of the given circumstances of a script in a truthful way. Endowment, emotional memory, sense memory, object work and creating a moment before are some of the lessons that are covered. Simple A/B scenes give students the opportunity to put these skills to practical use.

THE142

Actor’s Lab II

In this course students have the opportunity to use the skills learned in Actor’s Lab I and apply them to text. Scenes are assigned from plays. The teacher guides the actor in how to take the given circumstances written by a playwright and use the learned acting craft to bring the characters to life in a truthful manner. Elements worked on are preceding circumstances, relationship, environment, obstacles, intentions and actions.