Here’s what you will learn:

• How to act honestly and believably through a rigorous curriculum in acting, voice, improvisation, scene study, movement and related studies
• How to expand your basic technique to transcend the limits of the stage, so you master the naturalistic and technical aspects of the performance elements of film and TV
• A step-by-step approach to the technique and discipline of the camera actor in all media, including film, episodic TV, daytime drama, sitcoms, commercials and voice-overs
• The short-term and long-term realities of your chosen career, including auditioning in a professional environment, the business of the business and goal-setting
• The skills, discipline and patience necessary to meet the challenges of the industry and position you for professional success

Auditions + Admission

An audition is required for entrance into the Two Year Conservatory Program. Auditions are scheduled throughout the year in New York City and various other locations. You should prepare two one to two-minute contrasting, contemporary monologues. Audition times are by appointment only. For more information or assistance in preparing for your audition, please contact an Admission Representative at 888.645.0030

Admission Requirements - First Year

Responsible, mature, serious and highly motivated applicants are considered for admission to the first year of the program. The minimum educational requirement for admission is a high school diploma or its equivalent. Acceptance into the program is based on a completed application, personal interview, audition, and receipt of a letter of reference. If you have not taken the SAT or ACT exams, while not required for admission, we highly recommend that applicants take the test(s) and submit their scores. Official high school transcripts with graduation date and any college transcripts are also required.

Admission Requirements - Second Year

Admission to the second year of the program is by audition. Transfer students must provide transcript information from previous training programs. Transfer students may be required to register for prerequisite courses at additional expense in order to meet the requirements for graduation.

International Students

Please click here for an International Student Application checklist and more information on transcripts and I-20's.

International students are welcome and should follow all of the above steps. However, International students must also have their high school and college transcripts evaluated by an international evaluation agency. The school is able to authorize F-1 student visas. International students must meet all criteria for admission plus provide proof they have sufficient funds to complete the program. Funding must include travel expenses, living expenses and tuition. Sources may include personal or family funds, student aid from their country of citizenship and/or a sponsor. In addition to the application materials, international students must prove they hold a valid passport.

International students who have relatives or friends who are US citizens or resident aliens may be eligible to apply for U.S. based financial aid. Upon receipt of this information and the program deposit, an I-20 will be processed for the student. The student must then apply for a visa at the American Embassy in their country of citizenship. English proficiency is required for all students. Students with I-20 visas are not permitted to work while enrolled in school. Upon graduation from the Conservatory, international students are eligible to apply for a work permit.

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.

THE140

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.

THE145

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.

SECOND-YEAR CURRICULUM

Advancement into the second year is by invitation only and is based on teacher evaluations, academic standing and final performances reviewed by the Academic Committee.

The second year brings the young actor to the world of the camera. Learning to integrate technique with understanding and accommodating the requirements of the camera are the objectives of the second year. Year two is grounded in Scene Study for the Camera, and Acting Process for the Camera. Actors expand their on-camera craft with Auditioning for Film and Television, Commercials and Daytime Drama. Actor’s Comedy Workshop, Monologues and the Voice-over work-shop continue to support actors in their growth.

Actors in the final semester begin to be introduced to the industry. To prepare them, students take a Business of the Business workshop. They are invited to do monologues for a jury of professional casting directors and agents. A six-week workshop run by casting directors gives actors the opportunity to meet and work with these professionals. The second-year work culminates with a unit devoted to shooting a fully produced film scene.

In your final semester:

• You will perform before a professional jury selected by the Artistic Director. Each member prepares a detailed evaluation of your skills, casting type, strengths and areas for improvement.
• You will work with professional casting directors, agents and managers to help prepare you for the realities of auditioning.
• If eligible, you will audition for a role in the final film project. Casting is done by the Artistic Director, Executive Director and a panel of professional directors. Filming is done in studios and on location with a full film crew and can last as long as ten days.

THE241

Second-Year Internship

Observe and be part of the business of acting in working situations; interact with and be known by industry leaders to enhance networking. Literal placement in the offices of casting directors, agents, producers, advertising agencies, etc. Students prepare a report reflecting on how their course work relates to their internship experience.

THE253

Actor’s Comedy Workshop

In this sixteen-week course, students get a solid foundation in the principles of comedy. They learn how to apply their acting skills in the comedy world; how to create comic characters, make comic choices and find the comedy in a script. The pivotal learning experience occurs as students participate in an intensive assignment to create, pitch and then produce with their fellow classmates a DVD of their very own original TV comedy mini-pilot. With guidance from the instructor, each team of students is responsible for writing, performing, shooting and editing these projects. During the process of this assignment, students learn invaluable lessons about the realities of comedy in television. Under the rigors of a tight production schedule, they experience firsthand the importance of preparation for camera work, continuity editing and professionalism as they complete each aspect of the assignment.

THE255

Process for the Camera I

Function effectively and professionally before the camera: hitting marks, making entrances or exits, dealing with props, adjusting between master, mid-shot and close-up, and shooting out of sequence with both physical and emotional continuity. On-set behavior; shooting sequence; working with the neutral mask and character-specific behavior choices in mid-shot.

THE258

Voice-over

In this course, actors deal specifically in voice-over microphone work; prepare the moment before; apply subtext to meaning and inflection; identify key words; work with a partner. Students are led by the teacher through a vocal warm-up and engage in exercises in physical alignment, breaking down copy, styles, slating, character, focus, breath awareness and broadcast jargon. Animated voices are also explored.

THE259

Scene Study for Film & Television I

In this course, students have the opportunity to work on their acting craft, both artistically and technically, in front of the camera. Scenes from feature films and one-hour episodics are assigned by the teacher. Students explore master shots, coverage and continuity. Eventually, the actors are put in various on-set work situations and taught how to deal with them and maintain the quality of their work. In this course, students are required to come to the set fully prepared without any rehearsal.

THE263

Audition Technique for Film & Television

Actors learn audition skills that prepare them to seek work in all media of film and television. Beginning with the 30-second commercial format, they proceed to develop other film and TV cold-reading skills; discover techniques for creating “place” and “relationship” quickly; learn to behave instead of act; how to conduct themselves in a live audition versus a taped audition; how to break out of their comfort zones while they make choices. They also have the opportunity to work with industry professionals, working in real interview and audition situations.

THE264

Research, Rehearsal, Performance

This course serves as a capstone experience for graduating students. Through the assistance of guest designers, directors and editors, students tape fully produced scenes as a final project and receive edited copies of their work. This class gives participating students the opportunity to test their technique, talent and professionalism on a working film set. Prerequisites: a second-year minimum GPA of 3.0 at the end of the midterm evaluation of the second semester of the second year.

THE266

Acting as a Personal Business

Research work prospects; prepare picture and résumé; write a cover letter; utilize the Ross reports; and develop a knowledge of theatre contracts and the roles of industry professionals, such as agents, managers and casting directors; market oneself as a business for employment within the film and TV industry. This course informs the actor about how to pursue a professional acting career from a business perspective. Topics covered include developing business tools (pictures, résumés, cover letters, mailings, postcards, etc.), dealing with agents and casting directors, managing one’s finances.

THE267

Commercials

Working in lecture/demonstration and labs, students learn the MOS, slice-of-life and spokesperson formats in depth. The curriculum applies basic acting skills to the needs and requirements of performance for commercials. Students become familiar with the type and style of ads and develop audition security.

THE268

Daytime Drama

Daytime drama scripts are character/relationship driven rather than plot driven. Thus, students must learn to make subtle but important changes when approaching this material. In this class, actors work to master the specific technical and performance adjustments required by soap operas.

THE269

Monologues

Monologues are coached, critiqued and adjusted for auditioning on stage, on camera and in an agent’s office. Each student leaves the course with a variety of monologues to suit various audition environments. The workshop concludes with a performance before a professional jury who offers constructive criticism on areas where improvement is needed.

THE272

Scene Study for Film & Television II

In this on-camera acting class, student actors will have the opportunity to work in specific artistic and set environments that they will deal with professionally; for example: the speed of shooting a one-hour episodic, the director who blocks immediately, the director who improvises, the director who blocks off an actor’s impulses, doing a scene in two takes and doing a scene in thirty takes. The actor will learn how to maintain a performance and stay open to the specific needs of a production.

THE400

Sketch Comedy for Performance

Students build on their sketch-writing and performing skills (introduced in Actor’s Comedy Work-shop) by creating and rehearsing sketch material and performing it for an audience in an outside cabaret. Elective.

THE401

Improvisation II

A class that refreshes and enhances improv skills learned last year in Improvisation and builds on these skills as they apply to actors’ skills. Emphasis on spontaneity, staying in the moment, freedom in making choices. Elective.

THE402

Stand-up Comedy for Actors

The overall goal of this class is to provide the actor with the training and basic performance skills to develop a five-minute stand-up comedy routine that will be performed in a live nightclub setting. These skills will include writing techniques, a basic understanding of joke structure, timing and rhythm, point of view, and character/persona development. Emphasis is on the differences and similarities between acting and stand-up performance. The sessions consist of lecture, video examples and working on one’s feet. Students begin writing the first week. Each session includes a “writing circle,” in which students act as each other’s sounding boards for developing material, under the supervision of the instructor. Elective.

THE403

Michael Chekhov Technique for Actors

This class will explore Michael Chekhov’s “psycho/physical” approach to acting through the basic principles and exercises outlined in Chekhov’s book To the Actor, including psycho/physical exercises, character work and ensemble improvisation. Each class begins with a warm-up specifically designed to develop the organic connection of the actor’s inner life, creative imagination and expressive body. Through the rigorous practice of Chekhov’s core exercises, students will explore archetypes, imaginary centers, imaginary body, character atmospheres, overall scenic atmospheres, qualities of movement, imaginary place and psychological gesture, along with on-camera adjustments, and more. Elective.

THE404

Diction and Articulation

This eight-week course is designed to help students develop standard American speech by learning the proper pronunciation of American English vowels, consonants and diphthongs. Students will learn how to blend or connect words and sounds so that speech is clear but natural sounding. In addition, they will study how intonation, phrasing and pace lead to expressive speaking. Students are provided with instruction and materials for practicing on their own. The International Phonetic Alphabet (IPA) will also be taught. Elective.

THE405

Advanced Voice-over

The objective of this course is to deliver copy with ease, believability, conviction, confidence and the required emotional and narrative qualities. Students analyze scripts, take direction, record various types of voice-overs, acquire terminology and language, and adjust their voice-over work on demand. Elective.

THE406

The Physically Expressive Actor

Working with movement and awareness to help the actor identify specific problems and habits that interfere with freedom of choice in monologue and scene work. Individual attention will be given in both solo and partner work. Elective.

GRADING SYSTEM

SFT uses a grading system approved by our accrediting agencies. Passing grades in rank order are A, B, C, D, and P. Failing grades are designated as F. You will be evaluated in areas of:

• Working to potential
• Mastery of technique and subject matter
• Professional conduct and contribution to the class ensemble

Grades are classified as follows:

Your instructor’s evaluations and grade assignments are made considering both your potential as well as growth over the grading period. If you receive a grade of less than “C”, you will be contacted by the administration and you may be placed on academic probation.

Tuition + Fees - Fall 2008

• In addition to the basic tuition, students may be asked to purchase certain scripts and textbooks required by individual instructors. Students are required to provide their own USB drives and computers for use as home-study resources.
• The New York Conservatory for Dramatic Arts requires all Students to have accident and sickness insurance coverage. Coverage is available for students not covered by a family health plan for an additional fee of about $998 per year. Visit www.universityhealthplans.com for information on the extent of coverage available.
• Please note that tuition and fees do not include housing and living expense costs. SFT offers housing in its dormitory for first year students at an addition cost. Please contact an Admission Coordinator to discuss details.

Scholarships & Financial Aid:

The New York Conservatory for Dramatic Arts is approved by the federal government for participation in Title IV financial aid programs. SFT also awards over $900,000 annually in talent and need-based scholarships. The National Scholarship Audition Tour dates are available by contacting the Office of Admission at 888.645.0030, ext. 4080. SFT offers a monthly payment plan through Academic Management Services. Individuals interested in this option of payment should contact an Admission Coordinator at 888.645.0030 for more information.

HOUSING

Students in the Two-Year Conservatory and four-week Summer Program can live in historic fashion at the St. George Student Residence in Brooklyn Heights. Housed in a landmark 1920s hotel just minutes from downtown Manhattan, you will have an opportunity to make your mark at SFT while living where the stars of generations past left theirs.

LIVE LIKE YOU'VE ALREADY MADE IT.
THE ST. GEORGE RESIDENCE IN CLASSIC BROOKLYN HEIGHTS

A friendly, scenic neighborhood. Upscale amenities you can actually afford. And all just minutes from both school and the most amazing entertainment in the world.

IT ISN'T A FANTASY. IT'S HOME.

Imagine it. You finish another rewarding day at school, catch a quick subway ride home—and suddenly, it hits you all at once. The tree-lined street. The beautiful waterfront promenade over-looking New York Harbor and that famous skyline. The endless options at your disposal—movies, cafes, boutiques, bookstores, cultural activities. And a safe, comfortable residence with amenities you thought were out of reach. You’re living a dream here in Brooklyn Heights, in one of the best neighborhoods in New York!

LUXURIES COME STANDARD

• 24/7 security and electronic keycard entry
• high-speed Internet connections
• air conditioning
• cable TV with HBO
• computer center
• individual private bath and kitchen
• access to an on-site health club
• quality furnishings
• student lounge
• coin-operated laundry
• free unlimited local phone
• all just one subway stop from Manhattan

MAKE YOUR OWN HISTORY IN THIS LEGENDARY LANDMARK.

In the Roaring ’20s the posh St. George Hotel opened with 2,632 elegant guest rooms and excesses that defined the era, such as the largest indoor saltwater swimming pool in the country. With its newly renovated, nicely furnished residences and lifestyle amenities, it just may be the ultimate student housing experience. Today, more than 800 students call this historic residence home. Will you?

To arrange your visit or for more information, call our Office of Admission at 888.645.0030 today.

Important Dates

ACCREDITATION

SFT is an institutionally accredited member of The National Association of Schools of Theatre (NAST) meets the eligibility requirements of the U.S. Department of Education in Washington, D.C. and is approved for participation in selected Title IV student aid programs. Financial Aid is available for eligible students enrolled in the two-year certificate program. The National Program on Noncollegiate Sponsored Instruction (NPONSI) has recommended college credit for additional courses offered by SFT. All clock-hour Courses offered by the Conservatory are recommended for college credit at the lower division baccalaureate /associate degree level and upper division baccalaureate degree level. SFT Programs are approved by the New York State Division of Veteran’s Affairs for the training of veterans and others who qualify through the Montgomery GI Bill. The school is authorized under Federal Immigration law to enroll non-immigrant students.

FAQs

Does SFT provide housing?

Yes. We provide housing for students in the Two-Year Conservatory and the four-week Summer Program at the St. George Student Residence. Early applications are recommended as space is limited.

Do you accept international students?

Yes. We provide housing for students in the Two-Year Conservatory and the four-week Summer Program at the St. George Student Residence. Early applications are recommended. SFT is eligible to certify enrollment for F-1 visas for those who qualify. All students must be fluent and literate in English.

Is Financial Aid available?

Yes, we offer Federal Financial Aid to qualifying students in the Two-Year Conservatory Program, and other financing options are available for both the two-year program and the summer program. SFT also grants up to $800,000 per year in talent and need-based scholarships for the Two-Year Conservatory and Summer Program. Financial Aid is not available for individual classes.

How do I apply for Financial Aid?

Over the Internet or telephone. Visit www.fafsa.ed.gov, or call 800.4FED.AID to have a Free Application for Federal Student Aid sent to you. You may also contact us at 212.645.0030 x4090.

Do you offer scholarships in the Two-Year Conservatory Program?

We do. Scholarship auditions are held in New York on a regular basis. The Admission team also travels the country and holds auditions in a city near you. Please visit our web site at www.sft.edu for upcoming dates and locations, and other critical details.

Do I have to audition to be accepted?

Yes, an audition is required for acceptance into the Conservatory. Placement is by interview for the Summer Program. An audition is required for summer scholarship consideration and entrance into the performance level of the program.

Do I have to memorize the monologues?

For the admittance audition, monologues should be memorized and performance ready.

What if I have no experience with auditioning?

We’re looking for instincts and ability, not experience. However you must prepare by memorizing the two contrasting monologues previously discussed in this section. If you have questions, contact one of our admission counselors at 212.645.0030, ext 4080.

What are the requirements to get into the Two-Year Conservatory Program?

• You must be a high school graduate or hold a GED
• Fluent and literate in English
• A successful audition
• A letter of recommendation
• Academic transcripts

Can I transfer into Second year?

To be eligible as a Second-Year transfer student you must meet the requirements listed above plus provide proof of credits from the other institutions that are equivalent to our first year of training.

How many people are in a class?

Classes have between 8 and 18 students.

What kind of a degree do I earn at the end of the Two-Year Conservatory Program?

We award a certificate of completion and the equivalent of 60-66 college credits. The credits are accepted for transfer to over 1700 universities and colleges nationwide.

Is SFT Accredited?

Yes, through the National Association of Schools of Theatre.

Will I get college credits? And if so, who will accept them?

Yes. The Board of Regents of the University of the State of New York, through the National Program on Noncollegiate Sponsored Instruction, approves credit recommendations for courses offered by SFT. All conservatory courses are recommended for college credit at the lower division baccalaureate/associate degree level and upper division baccalaureate degree level. Over 1,700 colleges and universities accept our credits.

If I decide I want a degree in theater, are my two years of credits wasted?

No. While an SFT education prepares you for the realities of film and television, the core of all training is about the acting itself. So if you decide you want to pursue a Theater degree after graduation, you can leverage our articulation agreements with several institutions. The Theater Program of the Department of Performing Arts at Adelphi University in Garden City, New York, admits our Two Year Conservatory graduates into their BFA Program as juniors. The School of Theater Arts and Dance at the University of Northern Colorado at Greeley also accepts SFT grads into their BA Program as juniors. We also have an articulation agreement with the GSA Conservatoire, University of Surrey, London, U.K.

Does your school help me find an agent, or send me out on auditions?

We are known for our ability to intensely and thoroughly prepare actors for the realities of the marketplace. In year two of our Conservatory Program there is heavy exposure to industry guests, directors, managers, agents, and casting directors via internships and regular seminars. However, we are not a placement agency nor do we guarantee employment.

Can I work in the industry while I study with you?

Yes. However, in the Two-Year Conservatory Program, classes take priority over any auditions or bookings. We ask that students only audition around their scheduled classes, and not audition for any project that would make them miss a class. There will be plenty of time for that once you graduate.

Is there anybody famous that went to your school?

Julia Roberts, Matthew Fox, Lauren Graham, Thomas Calabro, Kim Griest, Justin Guarini, Scott Holroyd, Elyse Neal, and Kevin Kilner to name a few, plus countless film, TV, commercial and voice over artists.

Do we have Winter/Spring break? What is the last day of class?

The year is divided into two semesters. Fall term runs from late August to winter break, usually just before Christmas. Spring term starts in January and ends in May. Spring break is usually around the end of March. The Summer term begins in May and ends in August.

Do I need experience to take classes?

No, just talent and drive. Our Two-Year Conservatory Program requires no previous experience or training. Acceptance is based on your audition, transcripts, application, and references attesting to your desire and commitment to a career in acting.

Do you have acting classes for children?

We don't offer any classes for students younger than 16. In the summer, we do offer high school juniors and seniors a four-week Program designed to give them a taste of what this business is all about, and whether they have the talent and desire to pursue a career. In all other programs, students must be at least 18 years old.